Piri Halasz reviews works by Al Loving at Garth Greenan Gallery, New York, on view through June 27, 2015.
Halasz writes that Loving's "mixed media collages are magisterially composed of almost incredibly intricate cut-out spirals, strips, diagrammatically outlined boxes, curlicues and other geometric flourishes. Everything is soldered together and elegantly colored, with multiple hues that range from the subtle to the rowdy. All these shapes and colors are further glorified by bits of glitter and overlays of shiny lacquer... the eye is challenged by how these works are mounted—or, to be more accurate, not mounted at all. They don’t have conventional matting under them, let alone glass to cover them or frames to surround them: instead they simply cling flatly, simply, innocuously to the wall."
Dan Greenberg reviews Freak Flag, curated by Kim Uchiyama, at Brian Morris Midtown, New York (through December 13). The show features works by Al Loving, Ann Shostrom, Craig Fisher, Gwenn Thomas, James Clark, Kim Uchiyama, Marthe Keller, Noah Post, Stephen Westfall, Paul Corio, and Andy Mister.
Greenberg writes: "According to Morris, Al Loving embodies the collective theme of the exhibit. His two wall reliefs assuredly burst with primary colors birthing secondary colors, and mixing ellipses with the hard angles of triangles. Loving’s radical departure from his previous, highly successful body of work emphasizes his lifelong dedication to change and following his true artistic impulses... There is no fear here; these works are merged into the old city walls, integrating art and life. These works conspicuously lack pretension and invite discourse."
The aim of Against Nature," Carroll writes, "is to pair historical works of geometric abstraction alongside new works by recent upstarts...The artwork, according to the exhibition statement, 'embraces a formulaic approach to painting characterized by meticulously arranged, spatially compressed compositions meant to supplant the perceived spontaneity of gestural painting.' If this statement makes the show sound scholarly, that’s because it is. How to brush off the stifling classroom vibe? Include the bright new work of painter Corydon Cowansage. Like sugar, Cowansage’s paintings have an addictive hold. Her vibrant, candy-colored paintings are a celebration of light and color. They caught me hook, line, and sinker. (Her use of color is comparable to Paul Reed’s heavily saturated canvasses.)"
John Yau reviews the exhibition Al Loving: Torn Canvas, at Gary Snyder Gallery, New York, on view through December 22, 2012.
Yau writes: "Made of strips of colored cloth that have been sewn together, and hang down from the wall, the torn canvas paintings are what Loving did to get outside of the box. He literally cut up his own work... the torn canvas paintings look incredibly fresh and uncategorizable, while his [earlier] illusionary cubes look increasingly like period pieces. Moreover, the change Loving made early in his career strikes me as radical a rupture as one can make in one’s history. Alfred Leslie, Guston, and Krasner are among the few others that I can think of who initiated a comparable break in their work. It is also worth noting that Philip Guston turned his back on his Abstract Expressionist paintings around the same time as Loving rejected his early efforts, and for many of the same reasons."
James Kalm visits the exhibition Al Loving: Torn Canvas at Gary Snyder Gallery, New York, on view through December 15, 2012.
Kalm writes that the exhibition "presents a group of groundbreaking sewn assemblage/tapestries using Loving's geometric abstract forms. Using dyes found fabrics and colored thread these pieces also delve into formalistic issues related to Process Art and Experimental painting." The gallery press release notes that "Disenchanted with his earlier, hard-edge geometric paintings, the artist dispensed with notions of centralized composition, figure/ground separation, and pictorial frame. In works like Self- Portait #23, Loving combined literally hundreds of pieces of torn fabric into an abundance of overlapping patterns and shapes. Their rich and intuitive array of colors stretches irregularly, extending to the floor, encompassing the surrounding space, and engulfing the viewer."
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.