Robert Holyhead, Untitled 2012, oil on canvas, 48.3cm x 33cm (courtesy of the artist and PEER)
David Sweet reviews two exhibitions Robert Holyhead at Peer Gallery, London (through July 7, 2012) and Geoffrey Rigden at Poussin Gallery, London (through June 30, 2012).
Sweet writes that "outside of the issues of art criticism of a formalist sort, one might end up wondering about the contemporary positioning of these two painters and the politics of the different surfaces that each produce. Rigden's crustiness harks back to the rough finish of 20th century canvasses while Holyhead's smooth and shiny glazing evokes the uninterrupted texture of photography and screen based media."
Cuillin Bantock writes about the paintings of Geoffrey Rigden on view at Poussin Gallery, London, through June 30, 2012.
Bantock writes that "Rigden, for all his cool, has a razor-sharp awareness of the massive constraints which define a painting, that a painting has only three realities: area (surface plus edge), chroma and facture. The rest is virtual, put there by the eye. Even more, he seems to invite yet further limits, denying himself the luxury of enjoying the infinity of ways in which colour areas can meet. In a Rigden the colours meet head-on. As Stravinsky once pointed out: anything which reduces constraints, reduces tension. It is the very lack of conventional painterly pleasure which gives this work its punch."
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.