Sharon Butler visits the studio of painter Greg Drasler whose exhibition Road Trip is on view at Betty Cuningham Gallery, New York through August 5, 2016.
Butler writes: "Imagine crossing the country before there was an interstate highway system but after the introduction of two-lane paved highways, say in the early 1950s, and you get an idea of what era the paintings evoke. Drasler's palette combines the muted tints of old hand-colored postcards with the vibrant colors of concert posters from the 1960s. The effect is one of nostalgia and longing."
Hovey Brock reviews Louisa Matthíasdóttir and Hildur Ásgeirsdóttir Jonsson at Tibor de Nagy, New York, on view through June 17, 2016.
Brock writes that "[Matthíasdóttir's] surfaces, switching freely between thick and thin passages, show a quick, decisive hand with little evidence of pentimenti or erasures. The subjects alternate between scenes of sheep grazing in the countryside, views of Reykjavik, and small seaside villages. Her compositions work best where her abstract and representational tendencies are in almost perfect balance... [Jonsson] creates the shimmering images in her silk textiles through a process similar to ikats... Jonsson’s ability to work wet dyes into wet gives her fabrics a painterly appeal that ikats lack, as they depend on resists to create their patterns."
Malone writes: "These little pictures are more than charming in their own right; they present a lesson in the demanding realities of one of painting’s more difficult methods. Everything about these works reflects the artist’s dedication to a process, the complexity of which is easily underappreciated. Close inspection of their palm-of-the-hand dimensions yields an intimate and carefully observed series of views. At the same time, a narrative of sorts unfolds, following the artist’s daily circumambulation of the lake’s eccentric shoreline. Each small rectangle makes an episodic advance toward the vast space Horowitz re-creates in the viewer’s mind and also serves to track the artist’s movement from one vantage point to the next."
Jonathan Stevenson blogs about the paintings of Amy Lincoln, on view at Morgan Lehman Gallery, New York, through May 7, 2016.
Stevenson observes that Lincoln's painting's "vivid color, exacting line, and exotic detail leap out at the viewer, so that the initial impression is straightforwardly Rousseau-esque, maybe with a nod to earnest Regionalist and Symbolist landscape painters. Her work isn’t merely gorgeous or wistful. She imparts to her paintings an arch, expansive ambivalence that gives them depth, mystery, and a little darkness ... These paintings, smart and probing as they are visually striking and technically accomplished, scratch the itch at the juncture of perception and imagination."
Christopher Joy and Zachary Keeting visit the studio of painter Albert Kresch.
Kresch comments: "Light is maybe the second most important thing in a painting for me... space [is first] ... I studied very early with [Hofmann] I was 18 in 1942 and 43... Push and pull didn't interest me... I wanted to hurl the spectator off the surface [into] space."
Goodrich writes: "What does it mean to paint representationally? For a Photorealist, it means a point-by-point recapitulation: the fixed, dispassionate vantage point of a camera. For a more tradition-minded painter, it involves a weighting of masses and details, an eliding of some elements and emphasizing of others: in short, a process of limitless characterization. Such a painting can end up anywhere on the spectrum of complexity, from bare minimalism to baroque embellishment. But a convincing traditional representation depends most of all on making elements count – on a disposition of forms that gives weight to masses, tension to gestures, and a resolving energy to detail. Lois Dodd, as her admirers know, is a painter who makes things count. For over six decades, she has presented unassuming subjects – typically her garden and interior scenes – in singularly taut compositions animated by circumstances of time, light, and point of view."
Porges writes: "[Belzer's] intention, it seems, is not to disturb the viewer, but to simply observe, interpret, and record. She describes her experience of studying the canal as being akin to 'looking through an adjustable telescoping lens, seeing things that were both profoundly disturbing and exquisitely beautiful at different scales.' In the end, though, that which is disturbing has been muffled by the beautiful. Whether this is a side effect of its passage through the artist’s ‘lens’ or simply because her desire is to show and not tell, the effect is the same. As we find our way through these hybrid landscapes, we have to make our own decisions about places like this, and what they mean both in the present and in a future in which there will be so many more of them, as we continue to push ever further into transforming the world to our liking."
Yau writes: "Dodd’s sensitivity to light, atmosphere and color — and the way they complement each other — is understated and precise. This is because she largely eschews the dramatic moments of light favored by the 19th-century American Luminists, avoiding the deep, striking shadows that made the Luminists’ work so theatrical. Look at all the different greens, and their varying densities — punctuated by irregular red and reddish-orange circles (the apples) — that she brings into play in “Apple Tree through Barn Window, September” (2015), and you realize how formally sharp Dodd is in her work. And then consider the raindrops on the glass panes in “Rainy Window” (2014) — and how her tans, browns and grays complement each other and the subject – and you get a sense of Dodd’s mastery. Even when she is working with a circumscribed palette on modestly sized paintings, all less than 20 x 20 inches, as she does in the night views from her Lower East Side apartment window, there is so much she is able to convey through the varying densities of paint, from scumbled and brushy, matter-of-fact surfaces to the mixture of grays defining the sash and casing."
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.