Matthew Neil Gehring blogs about two shows at Brian Morris Gallery, New York: On the Money (through May 17), featuring works by Alison Hall, Suzanne Jolson, Zachary Keeting, Jenna Pirelli, David Rhodes, and Gary Stephan; and From Now On In (closed) featuring works by Michael Berryhill, Tom Burkhardt, Steve DiBenedetto, Lydia Dona, Fabian Marcaccio, Carrie Moyer, and Alexi Worth.
Gehring writes that "both shows have contributed paintings that seek to expand our experience of painting, and to nudge the enterprise along in some way."
Dennis Kardon reviews From Now On In at Brian Morris Gallery and Buddy Warren Inc., New York, on view through April 25, 2015. The show features works by Michael Berryhill, Tom Burckhardt, Steve DiBenedetto, Lydia Dona, Fabian Marcaccio, Carrie Moyer, and Alexi Worth.
Kardon notes: "Significant painting is so difficult to attain today because it requires a navigation of a dynamic that acknowledges arbitrariness while embracing specificity. Lacking an overriding ideology, there is no particular mandate anymore to make a painting any particular way with any particular subject matter (earnest exhortations from various painting sects notwithstanding). While admitting their methods are arbitrary, painters must then find a way to be specific, to make decisions that matter and elucidate a particular structure and feeling as it evolves. The seven painters included here build their paintings in ways that are neither programmatic nor simply rendered, each one taking a very different approach to ambiguity."
Zachary Keeting and Christopher Joy visit the studio of painter Lydia Dona.
Dona discusses at length how the elements in her paintings (color, materials, mark-making, and forms) develop from observations and sensations in her personal life, and also from reactions to significant global issues and events. She cites an interest in "the possiblity of being as realistic and as abstract as possible in the same perception... what I want my work to convey is the most dynamic, intensified sense of the present... The core of my work was always this battle, I think, some sort of battle between this abstraction and a narration within the abstraction. There was always narration without wanting to be narrative, and an abstraction without wanting to be formal, and the combination of this that would always have a plot... And I think that that plot... in which there is a relationship between body and environment, was always there."
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.