A. Bascove reviews Joan Snyder: Sub Rosa at Franklin Parrasch Gallery, New York, on view through June 20, 2015.
Bascove writes: "Snyder is in full mastery here. Her use of multiple materials, lush color, and the tension of opposites; the thin washes under built up mounds of paint and paper mache, the stark contrast of pale clotted creams, whites and golds with intense deep rose, wine reds, and black purples. She continues her exploration of various textures of fabric and glitter with the integration of organic materials pulled from the earth. An embodiment of memory, hand written words and thoughts, are repeated and distorted to the point of illegibility. These are works of the primal emotions, of passion and loss."
Zachary Keeting and Christopher Joy visit the studio of painter Paul Pagk.
Pagk comments: "The experience I'm going for is different than what happens when I'm painting them... I'm trying to get to a place I don't know ... then it can capture my attention... I don't want paintings to arrive at final ideas too fast."
Brenda Goodman recalls the experience of making her 1985 painting Breakthrough.
Goodman writes: "The middle of the right hand side wasn’t working but it was so beautiful I didn’t want to give it up. I was standing on the edge of the abyss but willfully chose not to jump in. I did not want to 'wreck' this painting but was afraid there would be no light on the other end. I had never before or after felt this anxiety so intensely. The jump would mean letting go of that precious section and I would have to TRUST that something else would appear — and that something would resolve and complete the painting. After days of struggle I finally let go. I wiped out that area, and Presto…the painting was quickly finished. More than 30 years later, that abyss isn’t so scary anymore because I know if I let go of my will and ego and paint out the precious area the painting will finish itself in no time. If you do this over and over you acquire a level of trust that makes it easier. This process, I believe, is the most spiritual aspect of making a painting. Letting go, surrender and trust."
Charley Peters reviews works by Callum Innes recently on view at Frith Street Gallery, London.
Peters writes: "In these works geometry, and in some ways painting itself, is a performance; a systematic process of structurally marking out pictorial space in which to frame areas of chaotic chemical intervention; each stain of pigment recording decisive moments when the surface of the canvas starts to liquefy and move. Innes has related the temporal nature of his paintings as having an affinity with photography, saying, 'There is a moment in time and space when a painting stops in much the same way that a camera’s shutter closes on a moment in time, this is not a static thing.' The recent Exposed Paintings at Frith Street Gallery certainly do appear as freeze-frames of work in constant progress."
Hunter Braithwaite interviews painter Dale McNeil, whose show Material Will: Force In Form is on view at Tops Gallery, Memphis through May 31, 2015.
McNeil comments: "A part of my painting process involves placing a step—a phase or transitional level—between the traditional applications of paint to canvas. I take impressions from paintings in process, propagating the next work and allowing organic growth to a similar image. This method introduces the next version or variation. The process is rather clumsy and inaccurate but allows for aspects of randomness and chance, countering the restrictions I set for myself and allowing for a new unique composition."
William Tucker remembers painter James Adley (1931-2015).
Tucker recalls: "You could not get back far enough in his studio to get a picture without distortion, and even in a large public space the actual visual experience of a 50-foot canvas like Transition (1988-98) was impossible to capture in a slide. Size was a necessary component of his symphonic ambition for painting. He favored a horizontal format with an implied grid or web of vertical and horizontal bars, which could be more or less dominant or transparent, but never rigid or dogmatic and always carried out with delicacy and sensitivity. He worked thin acrylic paint with a variety of implements, including brooms, squeegees and sticks."
Julie L. Belcove interviews painter Cecily Brown whose work will be on view at Maccarone Gallery, New York through June 20, 2015.
Brown comments: "With the small ones ... I’d deliberately not get back from them and look, then at the end of the day be like, Whoa! It had become this very dense world, teeming with activity — a little like putting your face close to the grass and realizing all the activity. You see how much is going on in one square inch. I think, in these, I realized more than ever how important it is for me to have a definite figural thought in mind as I work. For me, when it gets purely abstract, it gets decorative. I need to have the sort of weight behind the mark that I’m trying to say something specific."
Melrod observes that the shows "showcased two savvy, LA painters who have chosen almost diametrically opposed paths to engage the medium, with all of its historical baggage; yet both showed glimmers of hope for the form’s continued relevance. Brad Eberhard ... [approaches] his medium with a winning blend of sincerity and whimsy... [Monique van Genderen's] efforts broach Big Questions as to the viability of the high modernist aesthetic."
Jason Stopa interviews painter Wendy White whose show Double Vanity is on view at Sherrick & Paul in Nashville, through June 13, 2015.
White comments: "In a way, I think all my work challenges the very basic notion that anything truly exciting can happen within the stupid rectangle. I like putting painting in a subservient position, making it surrender to the bigger picture—a frame, the architecture of the gallery, a fabricated sign or an abutting photograph. For me, that intersection is where larger meaning resides."
Carrier observes: "By sticking to his guns at times when abstraction has been beleaguered, [Jensen] earned our respect—and the right to be boldly experimental. That said, this is the strangest show, by miles, of a famous artist that I have seen in a major gallery. It’s a very daring exhibition, for it’s as if Jensen wants to put everything in his paintings. Up the street from Cheim & Read is Thomas Nozkowski’s show at Pace. Nozkowski is regularly praised (or blamed) for the variety of his compositions, for his refusal ever to adopt a signature style. His pictures are very varied, and yet, a Nozkowski is always identifiable. What, by contrast, I find in Jensen’s show is a boldly promising incoherence. This is why I admire Transformations even as I fail to understand it. But who knows what I’m missing: I have been wrong about ambitious artists before."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.