Steven Alexander blogs about paintings by Richard Pousette-Dart on view at Pace Gallery, New York through January 10, 2015.
Alexander writes: "Not unlike the severity and radically of Rothko's last work, these paintings are an important departure from Pousette-Dart's earlier gestural works, and a tougher, highly simplified elaboration of his more overtly 'cosmic' pointillist paintings from the 1960s. Here the artist achieves a full realization of the metaphoric power of elemental form, creating undulating particular surfaces that coalesce into simple geometric configurations, while maintaining the sensation of perpetual flux. As Pousette-Dart worked his way out of the illustrative mindset of surrealism, he began to construct iconic objects that for him embodied pure transcendental energy."
David Anfam discusses Abstract Expressionism with Sam Cornish on the occasion of the exhibition Re-View: Onnasch Collection at Hauser & Wirth, London, on view through December 14, 2013.
Anfam comments "Instead of thinking of Ab Ex... as having a fixed 'center,' it makes more sense to regard this impossibly manifold phenomenon as a shifting set of positions around a core that will always remain elusive. The closest one can come to defining such a crux is that the artists sought to figure states of consciousness. This was what I wrote in 1990 and I still feel the same way today, even if you want to translate the idea into academe-speak and call it, for example, 'subjectivity.' Rothko put it bluntly—some might even say naively—when he spoke about expressing 'basic human emotions… tragedy, ecstasy, doom.' For Pollock, consciousness was figured in terms of what amounts to an abstract (more or less) script, a literal and metaphorical outpouring of the self and its energies in terms of skeins of paint, and so forth. Even a maverick such as Ad Reinhardt upholds this notion, albeit from an oppositional stance, by striving to purge his work of any traces of the hand or, as it were, the heart. What I cannot tolerate is the old, clichéd presentation of Ab Ex as consisting of color-field painters on the one hand, with gesturalists or action painters on the other. It’s shallow, formalist, featured in at least one influential study of the 'movement' and should be put to rest for good." The post also includes an interesting take on Clyfford Still's drawings.
De Jong notes that the"works on display were created in a five year period from 1946-1951... [and are] raw and gorgeously incoherent. Bordering on the amateur, Pousette-Dart undermines any classicism inherent in abstract art's utopian promise. Restricting himself to black and white, as Pollock and de Kooning had during this time, Pousette-Dart moved away from the refined elegance displayed by those two artist’s efforts into a funky eclecticism."
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.