Link to Post:
http://elisabethcondon.blogspot.com/2013/02/from-color-field-to-figure-friday-in.html
Elisabeth Condon photo blogs visits to several painting shows on view in Chelsea: Peter Williams at Foxy Production (through March 23) Charlie Roberts: Girl Power at Kravets Wheby (through February 23) Shinique Smith: Bold As Love at James Cohan Gallery (through March 16), and Caro, Frankenthaler, Louis, Motherwell, Noland, Olitski, Stella, curated by Hayden Dunbar at Paul Kasmin Gallery (through February 23).
Link to Post:
http://abstractcritical.com/article/painting-and-performance/
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..."
Link to Post:
http://www.pirihalasz.com/blog.htm?post=884652
Piri Halasz writes about several current and recent painting exhibitions on view in Manhattan that together provide a sweeping view of abstraction over the last 70 years. The shows include: Conceptual Abstraction at Hunter College's Times Square Gallery, Helen Frankenthaler, Morris Louis, Kenneth Noland and Frank Stella at Mitchell-Innes & Nash (through November 24), Hans Hofmann: Works on Paper from the 1940s at the New York Studio School, curated by Karen Wilkin (through January 5), and Ronnie Landfield: Where It All Began at the Kenny Gallery, High School of Art & Design.
Link to Post:
http://abstractcritical.com/2011/08/morris-louis-revisited/
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."
Link to Post:
http://paulcorio.blogspot.com/2010/03/in-my-short-obits-of-jules-olitski-and.html
Paul Corio calls for a reconsideration of Color Field painting, Noland, Olitski, and Louis in particular.
