Rita Ackermann: Fire by Days, installation view (courtesy The Journal Gallery)
Aimee Walleston talks to painter Rita Ackermann about her new series of work Fire by Days, on view in a solo exhibition at The Journal Gallery, Williamsburg (through June 3, 2012) and in the group show Mix/Remix at Luhring Augustine, New York (through June 9, 2012).
Walleston writes that Ackermann's "loose, understated abstractions are often rendered exclusively in indigo and red oil and enamel - newer works also include a nude tone - and touched by bursts of spray paint. The title of the series derives from 'Vacancy in Glass' by poet Roger Gilbert-Lecomte, whom Ackermann discovered through the writings of Antonin Artaud. The poem's final lines, 'In a swift white line/On a black space/A brushstroke/Signifying absence,' imply the flight of a bird as a symbol of loss, and reflect the artist's new impetus toward unbound, gesture-based abstraction."
Charlie Finch visits Norman Bluhm's monumental painting Coney Island Beauty, recently installed at 499 Park Ave, New York.
Although Finch finds that the painting owes an "overwhelming debt to Pablo Picasso," he writes that "a doubling in the subject at hand restored, for a moment, to me, what is right about the painting, why I wanted to love it. The 'beauty' depicted, you see, could be that chubby wastrel on the shore, but also the billboard of some Botero-sized babe adorning the games of chance, like SkeeBall, on the Coney Island boardwalk itself. In this way, Norman Bluhm sprinkles that rarest of painterly qualities, humor, into his sparkling rolls of color and Picassoid line structure."
Maria Calandra visits the studio of painter Ariel Dill whose exhibition Oscillations is on view at Southfirst Gallery, Williamsburg, Brooklyn through May 27, 2012.
Calandra writes: "Ariel's paintings are lush musings on color, pattern, and, as described in the title of her exhibition, oscillations. She arrives at these vibrating medium-sized works both through her vast experimentation in brush stroke and her contrasted pairing of pigments... I saw her repeating single movements with short marks like you might do in a dance in order to gain emphasis of form or interest. These impromptu choreographies of Ariel's gave way to a very engaging series of eight canvases."
Valerie Brennan interviews painter René Korten about his work and process.
Korten notes: "Each painting has its own process of creation. Sometimes I make a painting or a series of paintings, based on a concept, for instance in a recent three-part series, where the first layer of each of the works is a big letter in pencil lines, and the combined letters make up the word DUB. In other paintings there is a more gestural approach. But always my aim is to somehow connect the more rational or intellectual part of creating an artwork to the pure joy of working with paint, to an intuitive and only partly controllable way of working."
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.