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..."
Alan Shipway takes a fresh look at the paintings of Morris Louis.
Shipway writes that "Louis' mature painting evolved over the affluent years of Eisenhower's America, into the Kennedy era, and there is something undeniably optimistic about his pure colour, the sheer physical expanse of his paintings. But they transcend American materialism, or formalism for that matter: Louis' optimism simply belongs to the artist sensing the possibilities of his own art, opening out before him."
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.