Schwabsky writes: "Clark revels in the subtlest interplay of will and accident, painting wet-into-wet to coax suave modulations of color out of the bluntest, even seemingly most slapdash concatenations of matter... Clark’s muscular approach to painting finds a three-dimensional analogue in the ceramic sculptures by Lynda Benglis... the wonder of them is how fully Benglis has fused her luscious glazes with the volcanic sculptural figures, using the vitreous color with just as much variety as she does the clay, sometimes in agreement, sometimes in counterpoint. Whether you call it painting in three dimensions or sculpting with color, Benglis does it with a vehemence... [Dodd's] sturdy paintings of flowers, houses and domesticated landscapes possess a ruthless force of their own: it’s their concision, the expression of a rapidity of perception that does not linger sentimentally over any unnecessary detail. It’s not merely that she leaves things out, but more that every possible superfluous mark has encountered her disdain, one by one, and been utterly snuffed out."
On the occasion of the exhibitions A Bigger Splash: Painting after Performance at Tate Modern (through April 1) and Explosion! The Legacy of Jackson Pollock at the Fundació Joan Miró (through Feb 24), Stephen Moonie considers the history of "painting and performance in relation to one another." He asserts that "it is evident that painting can no longer be taken for granted: instead it operates within an expanded field across and between media."
He concludes: "What is clear... is that performance and painting are closely intertwined, and that the relationship between the two works both ways: painting is not only a pathway into performance, but that many aspects of performance equally lead back into painting..."
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.