Elwes writes that the shows ofer "two quite different perspectives" on the continued relevance of painting. Painting Now, he writes, "and its accompanying text read like a research paper on an endangered species, a clinical exercise in which the work of five disparate painters is put under the microscope to see what clues it might yield to its continued and – in Darwinian terms – surprising existence in ‘what has come to be understood as a post-medium age.’" At The Piper Gallery, he continues, curator and artist Tess Jaray "turns the Tate’s assumption on its head by saying painting needs not words (or a rear-guard action) but a more imaginative and playful approach to the medium itself. The artists she has chosen... reflect her sense that rather than being adrift in a post-medium age, ‘now it seems, all art aspires to the condition of painting’. Here the medium need no longer be the message: indeed it is the medium – paint itself – which stands to limit painting’s progress."
Emily Spicer reviews the exhibition Painting Now: Five Contemporary Artists at Tate Britain, London, on view through February 9, 2014. The show features works by Tomma Abts, Gillian Carnegie, Simon Ling, Lucy McKenzie, and Catherine Story.
Spicer writes that the show "brings together five contemporary artists whose paintings occupy a variety of conceptual concerns, while sharing certain leanings towards traditional practice... A quiet strangeness pervades these works, a sort of understated but powerful aesthetic connected by illusion, by the strangeness of perception and the transformative power of interpreting the world in paint. And each artist in this exhibition has a nuanced and subtle message. Formalist concerns sit alongside ideas of artistic appropriation, shifting meanings and political ideology... the true aim of this exhibition remains elusive and as subtle as the paintings themselves. However, what we can be sure of is that, right now, painting is alive and well."
Brent Hallard interview with artist Cecilia Vissers, posted here on the occasion of the upcoming exhibition Cecilia Vissers: Wind Swept at Galerie Kunstkabinett Corona Unger, Bremen, Germany, on view from March 16 - April 28, 2013.
Vissers, whose recent relief works engage both sculpture and painting, describes how she uses "chemicals to intensify the colors and patterns sometimes using gunblue to retouch or cover up the scratches on the surface of the metal." She continues: "...the color is in the material and not on the material like paint. Up till now I only use the color orange because of its overpowering quality, it is a very direct color that immediately increases energy levels. Whereas the black can be so deep and absorbing like a sponge. There is this searching for balance and equilibrium between the form, the color and the finish of the material. The preference is for purity, and simplicity: the tension arising between the form, color and the finish of the material. It needs to be perfect."
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.