Tamar Zinn blogs about several summer shows in New York featuring abstract painting including: Eccentric Abstraction, curated by Bill Weiss, at Frosch & Portmann featuring work by David Hayward, Leslie Wayne, Mamie Holst, Richard Allen Morris and Bill Weiss (through August 3); Starting Out: 9 Abstract Painters 1958-1971 at Tibor de Nagy, featuring works by by Edward Avedisian, Darby Bannard, Friedel Dzubas, Paul Feeley, Helen Frankenthaler, Jane Freilicher, Ralph Humphrey, Kenneth Noland, and Kendall Shaw (through August 1); the Summer Invitational at Elizabeth Harris featuring works by Rich Klauber, Joanne Mattera, Paul Mogensen, Gary Peter, and Sarah Walker (closed July 25), and Color as Structure at McKenzie Fine Art featuring works by works by Paul Corio, Richard Garrison, Rob de Oude, Mel Bernstine, Jason Karolak, Maureen McQuillan, Holly Miller, Alain Biltereyst, Martha Clippinger, Richard Roth, Cordy Ryman, Deborah Zlotsky, Kate Shepherd, Elise Ferguson, Don Voisine, and Richard Caldicott (through August 1).
Joanne Mattera photo blogs a visit to the exhibition Color as Structure at McKenzie Fine Art, New York, on view through August 2, 2014. The show includes works by Paul Corio, Richard Garrison, Rob de Oude, Mel Bernstine, Jason Karolak, Maureen McQuillan, Holly Miller, Alain Biltereyst, Martha Clippinger, Richard Roth, Cordy Ryman, Deborah Zlotsky, Kate Shepherd, Elise Ferguson, Don Voisine, and Richard Caldicott.
Mattera notes that the show features "16 artists for whom color and structure intertwine, either to create a suggestion of dimensional space or to invigorate a planar surface with pattern, repetition, or optical effects... While all of the works are strong individually and offer a cogent visual narrative as installed, I found myself drawn to the conversations between and among certain works. "
Roth comments: "The small 3-D polychrome paintings are arrived at in a pretty traditional way, they evolve from the process of their making. I start painting on panels I use as prototypes -- they are identical in size to the final paintings and they are quite roughly painted. I want to develop ideas as quickly as possible and the paintings change rapidly, I often use colored tape to change forms, whatever's fast -- things get messy and I usually just paint one side and the front, just enough for me to understand the painting. When I find the painting, when it's right, I repaint it carefully on a new panel. I don't love this final part of the process -- re-fabrication -- but I believe it is necessary for the idea of the work to be read clearly and without any kind of nostalgic patina. The first step of the process is the party, the second step is what the paintings demand."
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.