Elizabeth Johnson interviews painter Barbara Friedman on the occasion of her exhibition Decollation at Buddy Warren Gallery, New York, on view through June 26, 0216.
Freidman comments: "more often lately, I put one foot in front of the other through a progression of images. What’s interesting to me is that pathways of decision converge or diverge under no set pattern. I see painting motifs as having certain similarities or ;family resemblances', such that two might look alike or function alike yet there are always inconsistencies in function or appearance... It’s sort of like the old game of Telephone, or a visual version of it."
Mira Gerard conducts an extensive interview with painter Barbara Friedman about her work, process, and career.
Commenting on her recent work Friedman remarks: "Lately, I’ve been setting up my portable easel and painting in museums, making pieces based on the paintings or sculptures there. So far I’ve worked in several museums: the Metropolitan, The Hispanic Society, and the Brooklyn Museum. In a way I start out each time behaving like an artist making copies of museum pieces; but by the time I’m finished, the result is pretty far removed from the original. Again, I’m trying to represent my own skepticism about the possibility of representation. So I’ll zero in on a Goya or a kouros figure, or maybe something by Manet, and then we’re talking about reductive strategies again – blurring, scraping, scratching, wiping – until my rendition teeters on the verge of disappearing. But I’m not just making the copy in order to make it go away again. Sometimes the blurring and the scratching let some features spring into focus coming forward from the rest... Whatever happens, the source painting threatens to become unrecognizable in my painting. So while it’s important for me to behave like a copyist in the museum, I’m also saying (or I’m telling myself) that even copying is not copying. Even what you might call passive copying is the active work of digesting and reinterpreting a work. Standing in a museum is not just taking in its appearances, because when you absorb what you see you’re also owning the experience, making it your own."
Butler writes: "the paintings look good, bouncing ideas off each other and reveling in their sheer painterliness. In the smaller front gallery, Patricia Satterlee presents a suite of charming small paintings comprising iconic green shapes that seem almost prehistoric, like old pottery shards or agroglyphs seen from above."
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.