Katelynn Mills reviews Nice Weather, a group show curated by David Salle, at Skarstedt Gallery, New York (Chelsea and Upper East Side locations), on view through April 16, 2016.
Mills observes: "One cannot help but feed off the vitality of the paintings in 'Nice Weather,' ... Taking it all in, I was reminded of [curator David] Salle’s review of the Museum of Modern Art’s 'The Forever Now,' published last year in ArtNews. That show, which was curated by Laura Hoptman, attempted to showcase a cross-section of what painting is today and, in so many words, Salle said, 'This is what’s working, these are the things that aren’t’t working.' 'Nice Weather' can be read as an extension of that review, saying, 'This is how it’s done.' I had the chance to ask Salle if he agrees, to which he replied 'I would. But the criterion and the mandate for a gallery show are different from that of a museum. In fact, ‘Nice Weather’ has many artists in common with Hoptman’s show.'"
Gabriela Salazar reviews an exhibition of paintings by Patricia Treib at Wallspace, New York, on view through December 21, 2013.
Salazar writes: "Treib’s marks read as simultaneously improvised and practiced. She works on the floor or a tabletop, and the paint, responsive between the surface of the canvas and the pressure of the brush, bleeds and blots slightly at the edges, recording with expressive exactitude the process of its making. The paint is thinned to the consistency of buttermilk, and her bright and pure colors become either faint or enlivened through their transparency to the off-white ground. Many of the works hover near the scale of a human body, which redoubles the sense that Treib is choreographing us alongside her."
Photo blog of an exhibition of paintings by Patricia Treib at Wallspace, New York, on view through December 21, 2013.
The gallery press release notes that: "Treib’s true subject is the process of looking, through which she discovers new relationships while dismantling what is merely recognizable. Treib focuses on the space between forms, making in-betweenness a primary motif. She frequently removes, adjusts and repeats precise configurations and flourishes. Peripheral elements become central presences, suggesting icons or calligraphic gestures in flux, riding on an assured, almost giddy sense of movement. A particular energy derives from Treib’s distinctive use of color, which can seem at once delicate and dynamic, measured and dancelike."
Kalm notes that this is "a prime group of painters dealing with the contemporary challenges of formalist abstraction. This walking tour includes views of works by: Andrea Belag, Shirley Jaffe, Alix Le Méléder, Sylvan Lionni, Julia Rommel, Patricia Treib, Stephen Westfall, Stanley Whitney."
Sharon Butler posts about "the open proposition in contemporary abstraction." She writes: "There is a studied, passive-aggressive incompleteness to much of the most interesting abstract work that painters are making today. But the subversion of closure isn't their only priority. They also harbor a broader concern with multiple forms of imperfection... The painters take a meta approach that refers... back to the process of painting itself."
James Wagner visits a novel exhibition of painting, "Battle of the Brush" in Bryant Park, NYC. The show pits "abstract" painters vs. "realist" painters in a tongue-in-cheek mock battle; a clash as obviously senseless as any taking place around the world today. Wagner remarks that the show is "one of the most creative art shows of the year... The work is on view in closed, retrofitted and climate-controlled vitrines (actually, two of the booths which had recently housed The Holiday Shops at Bryant Park). Visitors will be able to see the art, en plein-air, until February 2."
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.