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.