John Yau reviews a recent exhibition of paintings by Allison Miller at Susan Inglett Gallery, New York.
Yau writes: "In her paintings, Miller offers a radical and simple alternative to this organization of daily life. She refuses to take the shortest route, physically, and aesthetically as well, having rejected developing a recognizable style, sign or logo. She doesn't advertise who she is, or where she is going, nor does she reach for a fashionable product, such as airless hard-edged abstraction or provisional painting. She isn't trying to fit into any one of the currently hip narratives, whether taught in art schools or regurgitated in art magazines. Even in this day and age of anything goes, that is a quietly heretical act."
Caleb De Jong reviews the exhibition Allison Miller at Susan Inglett Gallery, New York, on view through March 3, 2012.
De Jong writes: "Slightly rough-hewn surfaces, pinks, fuschias and warm liquin blacks skillfully balances influence and intention into an easy coherence. Partaking of a tradition that stretches back to Diebenkorn's inhalation of Matisse, Allison Miller, along with other Californians Rebecca Morris and Pamela Jorden, translates European Modernism, in this instance Bauhaus Klee, into Malibu airiness."
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.