Durrell writes: "What is happening here is that [Carothers], trained when Abstract Expressionism ruled the art schools, in his own work turns to representational depiction and makes abstraction an ingredient but not the reason for being. Carothers’ paintings pull the viewer in, are not quite literal so produce the feel of fiction, of stories not yet completed. Windows have been a frequent element although he’s not using them as often just now. He says they are 'a way for art to take you to different places' and was drawn by the way other artists used them and their metaphysical suggestion of 'inside and outside, imagined realities and their combining structural internal space.'"
Jonathan Kamholtz reviews Building Sight(s), an exhibition of paintings by Cole Carothers, at the 5th Street Gallery, Cincinnati, Ohio, on view through December 8, 2012.
Kamholtz writes: " 'Ingmar' is a painting of the interior of a Michigan vacation cottage with a white wicker chair in the foreground, a bed in the middle ground (it seems made but the pillow seems mussed), and a door in the background opening onto further mysteries of interior space and domestic life. Where Carothers’s earlier work reminded us that painters are workers who have the responsibility of taming some of the mess they leave behind them, 'Ingmar' flirts with a sense of leisure time and privilege, a little like William Merritt Chase might. The light comes from a rich combination of indoor and outdoor illumination, part warm and part cool, and the room is dappled with patches of sun. The wicker chair is turned away from the window, through which we cannot see. Though many of Carothers’s earlier works used the window to suggest that we can be both outdoors and indoors at the same time, “Ingmar” suggests that we can only be one or the other, though light doesn’t have the same limitation."
Emil Robinson reviews a recent exhibition of paintings by Cole Carothers.
Robinson writes "Carothers’s paintings are expansive in their sense of touch. The paint is smashed, slapped, dragged, smeared, scraped, feathered, and redrawn... In their tactility, these paintings give us a sense of intimacy. We see the image but feel its physical presence. The paintings present a myriad of intuitive discoveries, each marked by a kinetic painterly event. Carothers was trained when the methods of Abstract Expressionism were law, and you can feel the digestion of action painting in the work shown here."
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.