Lilly Lampe compares two exhibitions of contemporary painting: Painters Panting, recently on view at the Atlanta Contemporary Art Center and Painter Painter at the Walker Art Center, Minneapolis, on view through September 27, 2013.
Lampe concludes: "These exhibitions and their ilk call attention to the insecurities of painting by their very nature, but in their execution declare the evolution of painting more than a primacy of painting’s original existence. Essentially, painting’s influence is felt strongly, even if what purists would call painting has changed radically. But painting is always changing, and every shift has instigated a call for its death. The moves made by the Impressionists, Modernists, Abstract Expressionists, and so on and so forth, sounded like death knolls to their detractors, but made painting all the more relevant. Enough with the preemptive eulogies and defensive exhibitions; painting exists, and it’s good. The trick is to show it in a framework that’s more self-aware than self-obsessed."
Karen Tauches reviews the exhibition Painters Panting featuring works by David Diao, Craig Drennen, Saul Fletcher, Alex Hubbard, Judy Ledgerwood, Chris Martin, and Jennifer West at the Atlanta Contemporary Art Center, on view through June 24, 2012.
Tauches writes that "painters are the last great materialists in a world dematerialized by technology; they chose lifetyles which grow more eccentric with every passing year. They are ruled not by electronics, but by the physicality of materials—pigments, canvas, studio spaces, light, images made by hand and body. Either out of stubborn love of this tactical medium or a desire to be at the top of the pyramid, they are terribly dependent upon a class of people who can afford to keep and care for their wonderful, expensive, superfluous, and demanding two-dimensional objects."
Ledgerwood explains: "I decided that the most interesting thing I could do would be to work flat and to make paintings that were extremely flat but that would project out into the space and to try to address the architectural space, because the space in front of the wall seemed to be the only space that hadn't been addressed sufficiently in painting... I think that there's a lot of room left to really address the viewer. I think that's probably one thing that the Renaissance really did well, but they did it narratively and they did it through the formal construction of the painting. And I'm trying address the viewer not through some narrative hook, but to address the viewer because the paintings envelop the space."
New City Art reviews Judy Ledgerwood’s exhibition Chromatic Patterns for Chicago. "Ledgerwood deftly appropriates Color Field abstraction’s scale and subsequent power to activate space and affect viewers by drenching Hoffman’s front room in prismatic vibrations." The exhibition includes "Two large paintings applied directly to opposite walls of the gallery... [and] dyed-urethane foam blobs (Blob Paintings)" displayed in a second gallery.
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.