Bradford comments that the show, featuring one work each by eight artists, is meant to "celebrate a time when painting with humanist impulses and intimacy and personal stories is very much in the air and of interest."
Kalm notes that Bradford herself, as an educator and an artist, has inspired "approach and content more interested in a painterly empathy with people than a calculated theory."
Dufresne remarks: "I am trying to connect with images in reverence, however bastardized that reverence may be. It’s quite perverse, usually. How I interpret this dialog with history is to not make it falsely dry or sweet and not pretend that perception and the given narrative have much in common because they don’t. We see similarity in moments. We recognize ourselves or our experience in a flash or a film still, a painting or a piece of clay for that matter, connections, resonate narratives, and for me, there are instances when I can jump into those narratives and represent the thread–however disparate, however much based on projection–and that this is an honest portrayal of my connection to history and the history of cultural production. My works attempt to engage in the stuff of the world, in dialog with media, cultural production, and history, as performance, and then project it back onto the canvas, completing the cycle as it were."
Jenny Jaskey reviews Vivid: Female Currents in Painting on view through January 22, 2011 at Schroeder Romero & Shredder. "If anything unites this group of artists, it is a commitment to painting, as opposed to “painting beside itself,” to borrow a phrase from scholar-critic David Joselit [October 130, Fall 2009]. Unlike the increasingly popular, so-called transitive painting, which points to networks of production or distribution outside the picture plane, the artists in Vivid are committed to life within the stretcher."
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.