Douglas Florian, Bewail and weep, 2010-2011, oil on wood, 24 x 20 inches (courtesy BravinLee Programs) photo: Brett Baker
Paintings shouldn't simply be seen, they should change the viewer, suspend him or her in an altered moment. A recent visit to exhibitions by Adolph Gottlieb, Ron Gorchov, and Douglas Florian proved one's sense of time and place can, indeed, be altered by a colored surface.
Mario Naves blogs about the work of Douglas Florian on the occasion of Florian's exhibition Dawn Thieves at BravinLee Programs, New York, on view through May 5, 2012.
Naves writes that "Florian creates heraldic images that simultaneously bring to mind the natural world, the Hebrew alphabet, Indian miniatures, graffiti and astronomical diagrams. Made with gouache and spare oddments of collage, the works are swiftly realized, but not always fast in final effect... Florian channels both the cosmic and the microcellular with breathtaking economy."
Sharon Butler posts thoughts from the painter Adolph Gottlieb on the loss of a "tradition of revolution in modern art."
Butler quotes an interview Gottlieb gave to the Washington Post in 1966: "The tradition of modern art is a tradition of revolution: there’s one revolution after another – for better or for worse. And I think that’s what we have today: there's been a revolution, the older Abstract Expressionists can legitimately continue working in their way, but young people have to find some other way... We felt that we were living in an underground; we felt that we were a bit outside of society and, in a sense, outcasts. If such a mood could develop among artists, this would be a good sign – but I haven’t seen any signs of it. They all want success more than achievement."
Robert C. Morgan reviews the exhibition Ron Gorchov at Cheim & Read, New York, on view through April 28. 2012.
Morgan writes that Gorchov "knows where he is going without imposing his intentions – not even on himself. I would say Gorchov is as open and clear as any painter I have meant. His idea is his image, and his image is his idea. In recent years he has taken the saddle form – that he employs to accentuate the perceptual aspect of how we see form in painting – as if to ask: 'Why does painting require a rectangle?' Gorchov does not paint in the laboratory sense of trying to prove something. Rather he simply states that the convex saddle is closer to how we perceive than the hardened rectangle. This is the given in his work, and he moves ahead from there, often with extraordinarily lyrical results."
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.