For the show, Zinsser created new work in response to abstract expressionsit painter Theodoros Stamos. Commenting on the process Zinsser notes that half of the challenge was "[a]pproaching how we create these romantic mythologies with these artists. But the other half is: What was it that launched our own painting out of the issues of abstract expressionism? For me, it always means making paintings that are event-driven, something where you’re looking for an image that will emerge out of the painting process itself. Also, materiality. Or moving things into large scale. So all of those are specific painting issues carrying directly over... I wasn’t looking at the specific paintings that were going to be in the show when I painted my paintings. I had more of my own idea of what a Stamos painting looked like. I mean I had looked at catalogues and monographs and so forth. But it was more an imagined idea of what they looked like. So it was surprising that when they actually came together, they did have these very specific resonating compositional and color relationships. Which is great. It really made it much more a present-tense open thought-inquiry that makes you re-see Stamos in a surprising way. I hope."
Vincent Romaniello photoblogs the exhibition Flight from Nature: The Abstract as Ideal at the National Arts Club, New York, on view through May 31, 2013.
The show features work by Andrea Belag, Paul D'Agostino, Danielle Dimston, Stephen Ellis, Molly Herman, David Hixon, Nicolas Holiber, Catherine Howe, Bill Jensen, Margrit Lewczuk, Riad Miah, John Newman, Fran O'Neill, Jamie Powell, Ben Pritchard, Bill Scott, Stephen Westfall, Karen Wisniewska, and John Zinsser.
Discussing the documentary in a recent article in NYArts Magazine Collins noted: "I began with a person whom I already knew: Joseph Marioni, a painter perpetuating the High Modernist tradition of his predecessors. Once I talked with him, I came away with many ideas that multiplied. Though De Antonio was already well acquainted with his group of participants, I would be learning about mine for the first time while filming, which is an experience I have come to enjoy. There's nothing like sitting with someone and hearing the story of his or her life firsthand."
In his introduction Belz writes: "Monochrome spawned no school or movement following its appearance in the early 1960s, but it has nonetheless remained a presence in the art of our time, its directness and simplicity periodically offering respite within a culture drenched increasingly by spectacle, while at the same time demonstrating anew abstraction’s capacity to secure meaning, even when self-imposed limits seemingly reduce its options to degree zero. In varying measures, its appeal has all along been visual and conceptual, a matter of body and mind together accounting for its integrity as art."
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.