Panero remarks on Petersen's "geometries of classical modernism [mixed] with space-age memories and feel-good color", Taafe's "process ... that look[s] beyond the recent abstract canon to draw on a worldwide history of geometric form.", Powers' "wild abstract reliefs that sometimes break and burn right through the picture plane", and O'Neill's "uniquely physical process... a set of movements captured in one long exposure." Of the latter two group shows, Panero writes: "Taken together, the efforts of these two small independent galleries have accomplished more than any museum department or curatorial committee has done in showing us the energy of the artist’s studio today."
Smith writes that Power's paintings "muster an elaborate physicality while corralling a profusion of references to different cultures, mediums and artifacts within their irregular borders. They might more logically be called painted reliefs, but they confuse matters by being so clearly derived from a single surface on which a mongrel process of drawing, painting and chiseling has run a bit rampant. And nothing is quite as rampant as the unhinged geometric patterns, defined first by automatist drawing and then by divots painted with contrasting colors, which give the best works a writhing, billowing energy."
James Kalm visits an exhibition of paintings by Devin Powers at Lesley Heller Workspace, New York, on view through November 25, 2012.
Kalm writes that "Devin Powers makes pictures that vibrate with subtle colors and painterly incident Practicing an abstract approach that develops out of crystalline structure and fractal repeated pattern, these paintings maintain a handmade feel while evolving from an austere geometric format with strong linear vectors."
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.