Allie Biswas interviews Ruth Root on the occasion of Root's exhibition Old, Odd and Oval at the Aldrich Contemporary Art Museum, Ridgefield, Connecticut, on view through April 3, 2016.
Root comments: "'Odd', to me, means 'hard to describe'. The paintings are almost like flattened sculptures that have been turned into paintings. Otherwise, they could be thought of as paintings that are sculptural and have their backs to the wall. Sometimes, when a painting is 'odd', it is a surprise and also unfamiliar. Often, a goal of mine in the studio is to surprise myself, and make something work that I didn’t think would work. The result is frequently a quality that I like."
Jonathan Stevenson blogs about works by Ruth Root at Andrew Kreps Gallery, New York, on view through August 14, 2015.
Stevenson writes: "Each piece comprises two main elements – digitally-printed fabric of Root’s own design (involving dots, lines, and more elaborate shapes) and a Plexiglas panel enamel- and spray-painted in oblique reference to the pattern or in looser coordination with it. They hang in restive equilibrium. One element tempers the visual primacy of the other, while each work as a whole presents a controlled conflagration of line, color, and allusion, sometimes to mesmerizing effect."
Mario Naves posts his catalogue essay for the exhibition Wit, curated by Joanne Freeman, at The Painting Center, New York through February 23, 2013. The exhibition features works by Marina Adams, Polly Apfelbaum, Joanne Freeman, Joe Fyfe, Barbara Gallucci, Phillis Ideal, Jonathan Lasker, Sarah Lutz, Doreen McCarthy, Mario Naves, Thomas Nozkowski, Paul Pagk, Ruth Root, Fran Shalom, and Stephen Westfall.
Naves writes: "Eschewing the purity that was once abstraction’s sine qua non, the artists featured in Wit opt for an almost promiscuous inclusivity. No inspiration is suspect. High-flown ambitions–sure, we got ‘em; historical cognizance, too. But these artists are also characterized by a willingness to embrace a veritable laundry list of references: nature, narrative, comics, design, technology, science, representation and, not least, humor. Not that humor has been entirely absent from the history of abstract art: Malevich pranked Mona Lisa five years before Duchamp and Mondrian paid winning homage, in oil and canvas, to his beloved boogie-woogie music. Still, abstraction nowadays is more and more a repository of quirks, tics and pictorial double entendres, having as much in common with Buster Keaton, say, as Neo-Plasticism."
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.