Joanne Mattera posts an extensive overview of abstract painting on view at the 2013 Miami Art Fairs.
Mattera's selections from among the "thousands of paintings at the fairs" includes works by Agathe de Bailliencourt, Agnes Martin, Alex Hubbard, Amy Feldman, Anke Weyer, Anne Truitt, Chris Martin, Craig Taylor, Deanna Lee, Enoc Perez, Federico Cattaneo, Gabriel Hartley, Georg Baselitz, Grace Hartigan, Günther Förg, Jaq Chartier, Joan Mitchell, Jon Pestoni, Joshua Aster, Keltie Ferris, Louise Fishman, Melissa Brown, Morris Louis, Norbert Prangenberg, Per Kirkeby, Polly Apfelbaum, Sachin Kaeley, Sam Gilliam, Shaun O'Dell, Theaster Gates, and Todd Kelly.
Leigh Markopoulos recaps Painting Expanded a symposium on the contemporary painting practice at California College of the Arts, San Francisco, April 13, 2013. Speakers and guests included Tom La Duke, Mary Weatherford, Keltie Ferris, Dushko Petrovich, John Zurier, and Mary Heilmann among others.
Markopoulos writes that the participants "addressed neither the specter of Rosalind Krauss invoked by the title of the day’s proceedings nor the legitimation of painting after the advent of conceptualism, paving the way instead for an exemplary range of perspectives linking painting to both life and art... the multiplicity of perspectives and practices presented argued that painting can participate in a broader discussion about art while expanding its discipline-specific history and repertoire. Acknowledging certain nagging doubts and situating them within a bigger artistic project does add up to something and can create a space—somewhere between canvas and viewer—that affords specific experiences and encounters. A painter’s agency, then, could lie in inhabiting these doubts, in multiplying and amplifying them to productive ends. It would seem also that surrendering to a process, a series of marks, or a technical exploration can constitute a valid artistic practice, one that takes a long-term approach, comprises repetition and variation, develops gradually, and aims at a greater embedment in the world through materials and work. What emerged ultimately was an exciting, richly hued portrait of a field open to possibility."
John Yau reviews an exhibition of paintings by Keltie Ferris at Mitchell-Innes & Nash, New York, on view through January 12, 2013.
Yau writes: "Ferris isn’t a purist. She uses pastels, oil paint and acrylic. She applies paint with a palette knife or a spray gun for which she mixes her own colors. She builds up her paintings with thin washes and layers. She is not methodical, leaving some areas uncovered. Looking takes the form of scrutiny -we move around the surface and examine what the artist has done as well as how she did it." He continues: "There is a rather aggressive dance in these works between the optical and the visceral, legibility and illegibility, crisp and blurred, the solid and the atomized — the visual cacophonies of urban life, which I am betting most of us don’t luxuriate in. But that’s exactly what Ferris’s paintings do - they delight in clashes of color and spatial incongruities."
Steven Alexander blogs about an exhibition of new paintings by Keltie Ferris at Mitchell-Innes & Nash, New York, on view through January 12, 2013.
Alexander writes: "Keltie's paintings are built with many layers of intersecting translucent and opaque matrixes in various media, including spray (oil) paint, acrylic and oil pastel, forming fabulous amalgams of color, shape and dynamism. Her process is bold improvisational shape-making, a sort of high pitched cataloguing of impulses, resulting in what amounts to ecstatic bursts of complex consciousness."
Sharon Butler posts about "the open proposition in contemporary abstraction." She writes: "There is a studied, passive-aggressive incompleteness to much of the most interesting abstract work that painters are making today. But the subversion of closure isn't their only priority. They also harbor a broader concern with multiple forms of imperfection... The painters take a meta approach that refers... back to the process of painting itself."
Two Coats of Paint posts links to a variety of exhibitions by women artists in 2010 that led the New York Times Roberta Smith to conclude that "Roberta Smith in her year-end overview, one of the bright spots of 2010 was the visibility of female artists."
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.