Butler writes: "Halley’s strict visual language is clear enough and his political underpinnings are well documented. Yet his nine enormous paintings, with the shifts in the shapes, sizes, and configuration of their three primary geometric elements, also seem to embed a subtle narrative about his personal confrontation and accommodation of the political and social evolution his paintings more overtly reflect. So perhaps the most remarkable achievement of Halley’s work is its seamless fusion of political and personal content. His formalism pulses with life itself."
Paul Corio reviews the exhibitions Cellblock I and Cellblock II: An Essay In Exhibition Form at Andrea Rosen Gallery, New York. The two-part show, curated by Robert Hobbs, is on view through February 2, 2013. Together the shows feature a large group of artists including: Alice Aycock, Peter Halley, Robert Motherwell, Sterling Ruby, Robert Smithson, and Kelley Walker.
Corio writes that three works in the show by Robert Motherwell "present an excellent place from which to begin a fresh look into abstraction as an entity that’s not strictly literal and reductive. Motherwell was an artist who was especially resistant to the idea of making a picture devoid of external references, and even when he turned to geometric abstraction, arguably the most aggressively abstract genre of painting, the pictures still talked about issues outside of their own existence and materiality..."
Matt Mignanelli blogs a photo-tour of the Peter Halley studio preview this week in Chelsea. Mignanelli writes that Halley's "command of surface and the variation of texture throughout each piece bring an extraordinary level of visual engagement."
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.