Franklin Einspruch reviews the recent two part exhibition Pour at Asya Geisberg Gallery and Lesley Heller Workspace, New York. The shows, curated by Elisabeth Condon and Carol Prusa, featured works by Ingrid Calame, Kris Chatterson, Roland Flexner, Angelina Gualdoni, Carrie Moyer, Carolanna Parlato, David Reed, Jackie Saccoccio, and Carrie Yamaoka.
Einspruch writes that the works on view "established that the desire for good abstract form, achievable by way of liquid paint, is a perennial concern... The “pour,” as presented by Condon and Prusa, takes one of two forms. The first is the revealing pour, the one with which we’re familiar from Jackson Pollock – paint as the manifestation of itself, the literal trail of evidence made by the action of colored liquid on a support. There is a distinctive grid, irregular and rounded, that appears when you tilt a canvas with a dripping swath of paint on it along one axis and then across it... The other form taken is the hidden pour, in which the force of the falling paint removes evidence of the human hand from the application, leaving the viewer to wonder how the shapes got there."
John Haber reviews the two part exhibition Pour at Asya Geisberg Gallery and Lesley Heller Workspace, New York, on view through May 24, 2013. The shows, curated by Elisabeth Condon and Carol Prusa, feature works by Ingrid Calame, Kris Chatterson, Roland Flexner, Angelina Gualdoni, Carrie Moyer, Carolanna Parlato, David Reed, Jackie Saccoccio, and Carrie Yamaoka.
Haber writes that "the nine artists in 'Pour,' ... do that and more... Most of all, though, this is a revisiting of the pour. For these artists, pour it on becomes as much metaphor as medium. It is that eternal dance between presence and absence and then some—that trace of a trace of a trace."
Rachel Youens talks to painter Carolanna Parlato about the evolution of her painting process and her new paintings which were recently on view in the exhibition Behind the Sun at Elizabeth Harris Gallery, New York.
In her earlier work, Parlato notes: "I would let a painting evolve over a day; I would tilt the canvas and let gravity direct the paint, then pour in more colors and push it off the edge by rotating the canvas. By using different viscosities of pigment in the subsequent pours, forms emerged and the composition evolved." In her recent paintings, she remarks that "creating a dialogue between the brushed areas and the poured parts was the challenge. My process is now less apparent and much more complex. Painting became my means of discovery... There is something satisfying about making a mark with your own hand. I am not sure if I rejected it, it didn’t make sense for me until now."
John Haber blogs about the resurgence of abstract painting, evident in a large number of high quality exhibitions recently on view in New York.
Haber writes: "Call me old-fashioned. Just don’t call me derivative. That put-down dogged abstraction for a long time, back when painting was, you know, dead. Since then abstraction has roared back, but by quoting - often to the point of conceptual art. So surprise, for early fall has brought no end of sincerity, with pleasures of its own."
In the Lure of Paris Halasz finds Jules Olitski and Ed Clark to be standouts. She writes: "Olitski seems to have been one of the few Americans actually looking at the better postwar French painters practicing the French equivalents to American abstract expressionism known as tachisme or l’art informel..." Halasz continues: "[Clark] is... known for having painted with push brooms instead of brushes... [his painting] benefits from the use of large, sweepingly simple forms and clear, vigorous colors, wisely limited & separated from each other -- much livelier than the blackened, bush-like center in the Joan Mitchell on display, or the muddy, overdone creation of Al Held."
The Lure of Paris provides a fitting backdrop for Halasz to view a show of new paintings by Carolanna Parlato: "[Parlato's] intuitive color sense is one of the strong points of the current show... Also, her paint is a lot thinner than the hallmark smears of the 50s, sometimes transparent in fact, when an almost dry brush appears to have been stroked across the canvas, depositing only hair-like lines of paint, as opposed to solid areas, and allowing the complimentary undercoat to shine through. Finally, at its best her organization is a lot stronger than most of the tyros at work in 'The Lure of Paris.' "
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.