Katelynn Mills reviews Nice Weather, a group show curated by David Salle, at Skarstedt Gallery, New York (Chelsea and Upper East Side locations), on view through April 16, 2016.
Mills observes: "One cannot help but feed off the vitality of the paintings in 'Nice Weather,' ... Taking it all in, I was reminded of [curator David] Salle’s review of the Museum of Modern Art’s 'The Forever Now,' published last year in ArtNews. That show, which was curated by Laura Hoptman, attempted to showcase a cross-section of what painting is today and, in so many words, Salle said, 'This is what’s working, these are the things that aren’t’t working.' 'Nice Weather' can be read as an extension of that review, saying, 'This is how it’s done.' I had the chance to ask Salle if he agrees, to which he replied 'I would. But the criterion and the mandate for a gallery show are different from that of a museum. In fact, ‘Nice Weather’ has many artists in common with Hoptman’s show.'"
Paul Corio reviews the exhibitions Cellblock I and Cellblock II: An Essay In Exhibition Form at Andrea Rosen Gallery, New York. The two-part show, curated by Robert Hobbs, is on view through February 2, 2013. Together the shows feature a large group of artists including: Alice Aycock, Peter Halley, Robert Motherwell, Sterling Ruby, Robert Smithson, and Kelley Walker.
Corio writes that three works in the show by Robert Motherwell "present an excellent place from which to begin a fresh look into abstraction as an entity that’s not strictly literal and reductive. Motherwell was an artist who was especially resistant to the idea of making a picture devoid of external references, and even when he turned to geometric abstraction, arguably the most aggressively abstract genre of painting, the pictures still talked about issues outside of their own existence and materiality..."
Perl writes that the press materials refer to "abstraction as 'a painting tradition that was once seen as essentially reductive' and 'monolithic and doctrinaire' - but has 'now become expansive.' In what sense were seminal abstract artists such as Kandinsky or de Kooning ever reductive? And what is more reductive than Warhol’s silly attempt at an all-over abstract painting included in this show, the bewilderingly boring 35-foot expanse of army surplus patterning entitled Camouflage? ...There is nothing in this show - neither the labyrinthine spatial visions of Julie Mehretu nor the impacted collage surfaces of Mark Bradford - that doesn’t have its origins in abstract painting long before Warhol got to work with his silkscreens."
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.