Mario Naves posts his catalogue essay for the exhibition Wit, curated by Joanne Freeman, at The Painting Center, New York through February 23, 2013. The exhibition features works by Marina Adams, Polly Apfelbaum, Joanne Freeman, Joe Fyfe, Barbara Gallucci, Phillis Ideal, Jonathan Lasker, Sarah Lutz, Doreen McCarthy, Mario Naves, Thomas Nozkowski, Paul Pagk, Ruth Root, Fran Shalom, and Stephen Westfall.
Naves writes: "Eschewing the purity that was once abstraction’s sine qua non, the artists featured in Wit opt for an almost promiscuous inclusivity. No inspiration is suspect. High-flown ambitions–sure, we got ‘em; historical cognizance, too. But these artists are also characterized by a willingness to embrace a veritable laundry list of references: nature, narrative, comics, design, technology, science, representation and, not least, humor. Not that humor has been entirely absent from the history of abstract art: Malevich pranked Mona Lisa five years before Duchamp and Mondrian paid winning homage, in oil and canvas, to his beloved boogie-woogie music. Still, abstraction nowadays is more and more a repository of quirks, tics and pictorial double entendres, having as much in common with Buster Keaton, say, as Neo-Plasticism."
Lisa Pressman photoblogs a studio visit with painter Fran Shalom.
Shalom writes of her work "My works balance the formal with the playful, paring down shapes and ideas into their most basic forms. It is a search for clarity and humor... But, like life itself, there is an undercurrent of conflict beneath the whimsy, as reflected in the tension and interaction between the shapes."
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.