Through the motif of the red dot, Randee Silv considers the continuum of abstract painting extending back 40,800 years.
Silv concludes: "Zig-zags. Grids. Nested curves. Clouds of dots. The edges of vision. 'Neurological bridge.' 'Neural artifacts.' The human nervous system hasn’t changed. Whether provoked through repetitive music, dancing, hallucinogenic plants, lack of food, chanting, sensory deprivation or a cave’s carbon dioxide, these visual percepts are wired into us. Oscillating. Expanding. Compressing. They mix and swirl with cultural expectations before congealing into recognizable forms. David Lewis-Williams wrote about this entoptic phenomena. Abstract marks before iconic imagery."
Leddy writes that "He brought his writings, his artistic solutions, and his considerable erudition about First Nations and pre-Columbian culture to New York—primarily in the form of the journal Dyn—but those ideas were gradually appropriated by New York artists. As Amy Winter shows in her book about Paalen, Robert Motherwell, who had worked on Dyn and received, as he put it, his “post-graduate education in surrealism” from Paalen, gradually lost a sense of indebtedness to him. Paalen and Motherwell corresponded frequently, often discussing ideas about art at great length, but now that correspondence is nowhere to be found. Barnett Newman, among others, liberally paraphrased his words in his writings about art, and never gave credit."
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.