James Kalm visits the exhibition Xstraction at The Hole, New York. The exhibition features work by 32 contemporary abstract painters.
The press release states that the show examines trends in "textile-based and 'craftstraction'", paintings influenced by "digital aesthetics," "trodden-upon, dirtied, worn out or even 'entropic' abstraction," and "un-painterly abstraction" in the works of a younger generation of painters.
Kalm's video walkthrough looks at "commonalities and techniques employed by this generation of artists. Includes views of works by: Adam Henry, Andrew Sutherland, Angel Otero, Anoka Faruqee, Chris Johanson, Cory Arcangel, Gerhard Richter, Kadar Brock, Mark Flood, Sam Moyer, Thomas Øvilsen, Trudy Benson, Wade Guyton, Wendy White, Xylor Jane."
Thomas Micchelli reviews Xstraction at The Hole, New York. The exhibition features work by 32 contemporary abstract painters.
Michelli writes that "there are only a few paintings here that are startling in their originality, but despite their sheen of newness, their relationship to antecedents is very much in evidence. This is not a criticism; to the contrary, it’s a major factor in the richness of their aura (a word I use advisedly). The rest of the works in the show appear to be earnestly made, but their conversion of past practices (abjection and process are especially pervasive) for the here and now do not register as particularly imperative."
On the occasion of the exhibition Oscar Murillo: work at the Rubell Family Collection, Miami (on view through August 2, 2013) Legacy Russell talks to painter Oscar Murillo about his work and process.
Murillo comments: "Paintings happen in the studio where I have my own kind of system, although there can be physical residue of performance in them. I like to cut up the canvas in different sections, work on them individually, fold them and just leave them around for months. I don’t work on a painting with the goal of finishing it or having a complete and finished painting at the end of a work process. The idea is to get through as much material as possible, and various materials go through various processes. In most parts there is this mark making that happens with a broomstick and oil paint. I make a bunch of those canvases, fold them in half, and put them on the floor. My studio is a cradle of dust and dirt, of pollution. I don’t tidy up at the end of each production process. It’s all very much on purpose; it’s continuous process, a machine of which I’m the catalyst. Things get moved around, I step on them, and they get contaminated. It’s not about leaving traces, it’s about letting things mature on their own—like aging cheese or letting a stew cook, they get more flavorful. That’s kind of how these paintings are made."
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.