Waldow writes: "Cage, who met Tobey when the older man returned to Seattle to teach at the Cornish School in 1938, was greatly influenced by Tobey’s knowledge of Eastern art and his ability to discover moments of enlightenment through intense concentration on ordinary surroundings... Cage met Graves in 1937 and was greatly impressed by his distinctive artworks and bold personality, even organizing a show for him that same year. Cage wrote that Graves’s paintings 'have nothing extraordinary about their subjects. They are the fruits and flowers which come from ordinary orchards and gardens. To the self-destructive inventions of civilization they are the replies of nature.' "
Andrew writes: "Pollock and Cage were aesthetic extremes of each other. Pollock sought to make paintings that were entirely an expression of his manic inner ego, whereas Cage fought to remove himself completely from the decision-making process involved in art. And yet, Pollock and Cage did have one thing in common. They shared a common adversary: hundreds of years of European history, theory, and dominance in the arts. So while Pollock fought to break from Braque, Cage battled to break from Beethoven."
Fellah notes that "Cage both explored and challenged the medium by setting fires on the printing bed, or saturating the paper with water until it nearly disintegrated... Ironically, the extreme to which Cage relied on chance and randomness actually generated a body of work that is distinctly purposeful and focused."
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.