Kalm notes that this show, and several other summer abstraction paintings (including Xstraction), "gives viewers a chance to reevaluate the many facets of this practice and with 'DNA' see the works of at least three generations of artists side by side. This show includes views of works by Robert Motherwell, Helen Frankenthaler, Franz Kline, Al Held, Louise Nevelson, Jules Olitski, Larry Poons, Richard Anuszkiewicz, Joshua Abelow, Ronald Bladen, Brooke Moyse, Kenneth Noland and others."
Silv writes: "Evident in [Goldfarb's] large-scale canvases, White Painting (1962) and Pink Painting (1964), Goldfarb deliberately compressed her broad strokes into smaller gestural variations of rhythmic dialogues, inviting viewers to converse if they’d like. Deciding to put aside her brushes, she began conducting the paint directly from the tube. It was curious to note how Goldfarb strategically placed 'spots' of color with a palette knife in Yellow Triptych (1966) that visually travelled back and forth in circulating motion that came in and out of focus."
Paul Behnke photoblogs the recent exhibition The Lure of Paris at Loretta Howard Gallery, New York. The show highlights the lesser known influence of Paris on mid-century American artists and features work by Biala, Norman Bluhm, Ed Clark, Harold Cousins, Beauford Delaney, Sam Francis, Shirley Goldfarb, Cleve Gray, Al Held, Shirley Jaffe, Conrad Marca-Relli, Joan Mitchell, Jules Olitski, Milton Resnick, Jean-Paul Riopelle, George Sugarman, and Jack Youngerman.
Sol Ostrow writes in the catalogue: "In the 1950s, with the triumph of the New York School, the United States for the first time in history had produced visual art of international consequence. Yet, artists from the United States and from all over Europe continued to flock to Paris just as the center of the western art world was shifting to New York... Their reasons varied. Some saw it as an opportunity to be cosmopolitan or to satisfy their wanderlust; others may have imagined the Paris of Le Jazz Hot, café society, and the romance of the pre-war avant-garde, or the chance to see works by Vuillard, Bonnard, Matisse, etc., that they knew only from black and white reproductions. In most cases the women artists had accompanied their significant others, while like the generation before them, the Afro-American artists, sought to escape the racism that was endemic in the States."
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.