Speaking about her process, Lutz comments: "There are rules you are taught in art school that you eventually can give up. For instance, you are taught that you’re not supposed to paint right out of the tube. Now I often do that. It is another device for getting paint onto the canvas, and it’s a good one. The way my paintings are made is an important part of their meaning. There is not a separate 'subject matter': they are about how they are made. I am interested in all the different viscosities of paint. Right now I am making paintings that have a variety of transparent and flat opaque areas. They have built-up areas, but also areas where you see the raw canvas. Spatial effects result from using a tool like the squeegee. Color lands on high points, but doesn’t get into low points. There are controlled accidents that are created and that you deal with later."
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.