Lilly Lampe compares two exhibitions of contemporary painting: Painters Panting, recently on view at the Atlanta Contemporary Art Center and Painter Painter at the Walker Art Center, Minneapolis, on view through September 27, 2013.
Lampe concludes: "These exhibitions and their ilk call attention to the insecurities of painting by their very nature, but in their execution declare the evolution of painting more than a primacy of painting’s original existence. Essentially, painting’s influence is felt strongly, even if what purists would call painting has changed radically. But painting is always changing, and every shift has instigated a call for its death. The moves made by the Impressionists, Modernists, Abstract Expressionists, and so on and so forth, sounded like death knolls to their detractors, but made painting all the more relevant. Enough with the preemptive eulogies and defensive exhibitions; painting exists, and it’s good. The trick is to show it in a framework that’s more self-aware than self-obsessed."
John Bunker reviews the exhibition Painting in the 2.5th Dimension at the Zabludowicz Collection, London, on view through August 11, 2013. The show features works by Tauba Auerbach, Jessica Dickinson, Sam Falls, Alex Hubbard, Nathan Hylden, Rosy Keyser, Ned Vena, and Michael E. Smith.
Bunker writes: "It’s always interesting to see how different generations of artists reinterpret the art movements and artists of the past. Our fascinations for particular times, periods and people feed into our present preoccupations, needs, wants and fears. Not only are some of the artists in this show working with abstract painting’s shifting relationships with different media, they are negotiating the dimensions and distressed surfaces of the former church which houses the Zabludowicz Collection... The extra 0.5 of a dimension we get in this show is not so much about the protrusions of the paintings from their surfaces or the wall. Instead it’s an historical dimension and concerned with how other media (mostly photography and the impact of context and site) rebounds on the painting process here in the 21st century."
Moeller writes: "As [exhibition curator Dina] Deitsch so aptly states, 'The artists collected in this exhibition paint things. They literally paint things. And by doing so they welcome the notion of the Thing—the object—into the realm of the image and, in the modernist language of a painting, into the flatness that is a painting’s historical hallmark.' This increasingly heated oscillation between the two mediums of painting and sculpture grapples less with answers but rather more with questions, some of which are deliberately pointed and profoundly obscure... The deCordova gathered eighteen artists for Paint Things and the assemblage of work is a smartly executed foray into the blurred and frenzied and ever-shifting world of contemporary practices. Looking backward in time, too, the exhibition pays homage, directly and indirectly, to the work of a host of artists whose presence is keenly felt, making the balance struck seem remarkably current."
Karen Tauches reviews the exhibition Painters Panting featuring works by David Diao, Craig Drennen, Saul Fletcher, Alex Hubbard, Judy Ledgerwood, Chris Martin, and Jennifer West at the Atlanta Contemporary Art Center, on view through June 24, 2012.
Tauches writes that "painters are the last great materialists in a world dematerialized by technology; they chose lifetyles which grow more eccentric with every passing year. They are ruled not by electronics, but by the physicality of materials—pigments, canvas, studio spaces, light, images made by hand and body. Either out of stubborn love of this tactical medium or a desire to be at the top of the pyramid, they are terribly dependent upon a class of people who can afford to keep and care for their wonderful, expensive, superfluous, and demanding two-dimensional objects."
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.