Photo blog of the Los Angeles Nomadic Division exhibition Painting In Place at the Farmers & Merchants Bank, Los Angeles, on view through July 31, 2013.
The show considers the "various ways that the definition of painting is continuously evolving, the project seeks to expand the traditional parameters of painting, sculpture, and installation: blurred, deconstructed, and refigured." Painting in Place features works by Rita Ackermann, Kevin Appel, Jennifer Boysen, Sarah Cain, N. Dash, Matias Faldbakken, Kim Fisher, Barnaby Furnas, Alexandra Grant, Matt Greene, Mark Hagen, David Hendren, Julian Hoeber, Rashid Johnson, Jacob Kassay, Olga Koumoundouros, Jim Lee, Nate Lowman, Allison Miller, Sam Moyer, Amanda Ross-Ho, Analia Saban, Kate Shepherd, Gary Simmons, Vincent Szarek, Britton Tolliver, Kon Trubkovich, Monique van Genderen, and Bobbi Woods.
Altoon Sultan vists two exhibitions of abstract painting: Painting Advanced at Edward Thorp Gallery (through April 20) and Andrew Masullo at Mary Boone Gallery (through April 27, 2013).
The two shows, Sultan writes, "got me thinking about how important the quality of paint was to me: paint itself, how it looks, how it works, how each artist uses it." In the work of Masullo, she finds that "the images are enchanting, but for me the love of paint is missing," while the five painters work on view at Edward Thorp each have "a very different approach to image and materials, each with a rich and sensuous use of paint."
Brian Fee reviews the exhibition Painting Advanced at Edward Thorp Gallery, New York, on view through April 20, 2013. The show features paintings by Andrea Belag, Jim Lee, Rachel Malin, Andrew Spence, and Gary Stephan.
The gallery press explains that the exhibition "addresses the ever-expanding range of complexity in recent abstract painting... [and seeks] to uncover the energies that painting still possesses." Fee concurs, noting that "the five assembled artists... are continually reworking the language of abstract painting, even within their own evolving styles."
Lee comments: "I need to work and not really know that I am making anything in particular. I guess that’s why I work on multiple pieces at the same time. It allows me to keep moving without focusing so much on the act of painting - in the end, I just want to make things. There shouldn’t be any hierarchy in my process. Oil paint is no more important than latex, and linen is no more important than a piece of plywood. When I paint in this manner, the pieces become more interesting to me…I lose track of what is actually occurring."
Michael Rutherford interviews painter Jim Lee about his work and process.
Lee comments: "For me, it’s just about working with my materials and trying to understand how to transition from one to the next, incorporating the physical vs. the visual. Whether its pieces of wood, a slice of linen, graphite marks, oil, latex paints, rubber, aluminum, I try to be open and not get caught up with prescribed hierarchies. I don’t want to have limitations when I work—I want more possibilities. But to try and answer your question, I suppose my work comes from a variety of enthusiasms. One being, that I’m very curious about how paintings and objects relate to the space in which they exist. How they connect with the physical space and how that promotes interaction with the viewer. As an individual, I bounce around in my social mannerisms. Sometimes I’m very outgoing while other times I desire quiet peaceful moments. I have to assume that my painting follows similar traits. Sometimes I’m quite social and out front, other times I’m more subdued and reticent."
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.