A review of Modern Color: Paintings by Paul Resika and Tyler Loftis at Leigh Morse Fine Arts, New York, on view through June 21, 2014.
"[Paul Resika and Tyler Loftis] are 50 years apart in age and experience, but New York’s Leigh Morse Fine Arts gallery has seized an extraordinary opportunity and brought them together for a show, a rare encounter of two different approaches to a timeless subject: colors... You might agree with both artists that color could be crazy or complicated, but their paintings in the exhibition do not show their struggle, instead, they offer us a breath of beauty and simplicity, a precious moment of pure painting."
The show catalogue with a dialogue between Resika and Loftis is available here.
Mario Naves writes about the prints of Paul Resika on the occasion of the exhibition Paul Resika; Silent Poetry at Vandeb Editions, New York, on view through January 22, 2014.
Naves notes that "In Resika’s intaglio prints, gritty fields of aquatint are emboldened by staccato hatching; clubby lines dance upon zooming, milky expanses; and dense swaths of texture both set off and engulf Resika’s motifs: boats, lighthouses and nudes on the beach. All the while an encompassing range of gray, black and, at times, electric white imbue the proceedings with drama, mystery and, here and there, comedy."
Jed Perl reviews the exhibition See It Loud: Seven Post-War American Painters at the National Academy Museum, New York, on view through January 26, 2014. The show features work by Leland Bell, Paul Georges, Peter Heinemann, Albert Kresch, Stanley Lewis, Paul Resika and Neil Welliver.
Perl writes that the show fails to offer "the expansive alternative history so many of us hoped for." He continues: "Even those who admire much of the painting in 'See It Loud' should be gobsmacked by a show that overlooks Nell Blaine, Lois Dodd, Jane Freilicher, Grace Hartigan, Mercedes Matter, and Louisa Matthiasdottir. With 'See It Loud,' the National Academy has performed the rather extraordinary feat of turning a postwar movement in which women were every bit as prominent as men into a boys' club with not a single girl in sight. This is not only politically incorrect; it’s historically incorrect. Women were leaders in postwar painterly realism—certainly Blaine, Freilicher, Hartigan, and Matthiasdottir were much more prominent than some of the men in this show—so how can the story be told without them?"
Thaddeus Radell reviews the exhibition See It Loud: Seven Post-War American Painters at the National Academy Museum, New York, on view through January 26, 2014. The show features work by Leland Bell, Paul Georges, Peter Heinemann, Albert Kresch, Stanley Lewis, Paul Resika and Neil Welliver.
Radell writes that "after slogging through the demoralizing, conceptually sodden eclectic streets of Chelsea, with only an occasional ‘find’ or rare glimmer of pictorial dignity, a resounding visual feast lies in wait at the Academy. This exhibition is a decisive, erudite celebration of the act of figurative painting. The conceivable and valid argument made for the inclusion of several other painters amongst the Center’s considerable stable of artists (Kaldis, Blaine, Freilcher) is quickly muted by the breadth and depth of what is now on view. Fueled by Abstract Expressionism but with a temperament and passion more keenly addressed to representing the world around them, these seven artists, all of whom knew, respected and interacted each other to varying degrees, together deliver an irrefutable vitality to their page in the history of art. And if individually they do not, at times, significantly or broadly enhance that sacred text in the true Elliot-driven sense, together theirs is a story in bold text."
Sloane writes that Resika's "relationship with the world of appearances shifts, sometimes closer, sometimes attenuated past immediate recognition, but he is always in this world of abstraction and language. This is what, I suspect, he looks for in the museums and galleries; how this abstract language, learned with Hoffman, is found in the art of all ages. The effect, or power, of this abstraction, this mastery of the language, is that every part of the painting is elevated to a symbol. Every element lives as both itself, as paint, and as metaphor. The disc can be a vibrant red circle, placed on the picture plane amongst other forms, alive as a participant in the choreography of composition, but it is also seen is also the sign of a setting sun. What is being examined, what Resika has long contemplated, is the nature of abstraction, and conversely, the abstraction of nature. For the artist it is the many ways visual rhymes can be wrought that makes the correspondence."
Micchelli recals that as a student Resika taught him that "it is better to think of [past masters], from whatever century or continent, as tribal ancestors who may or may not approve of what you’re doing, but who would understand your struggles and failures because their experiences mirrored yours... Resika was trying to tell us: that familiarity would break down our preconceptions and cultivate a fertile relationship with the history of our art form... [He] is among the last of the true believers. He committed himself to painting before the idea of making a picture became clouded by irony, distancing and recycling. He had nothing but his talent and his passion, which he followed with an extreme single-mindedness, brooking no doubt about painting’s purpose and efficacy."
Maureen Mullarkey blogs about the exhibition Paul Resika: Flowers on view through August 5, 2011 at Lori Bookstein Fine Art, New York. "a survey of atypical floral still lifes that begins in the late 1980s and continues into the present. A dozen small scale... arrangements illustrate his coloristic verve, an inheritance from his youthful study under Hans Hofmann."
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.