Carrier writes: "That Pollock and Dubuffet can happily cohabit as near equals is, of course no surprise. What here is up for grabs is Ossorio’s artistic relationship with these two modernist masters. He tends to place figurative elements or shapes not unlike Dubuffet’s in a Pollockesque all over field... You have the sense, rather, that driven by his awareness of the greatness of his friends’ art, Ossorio was experimenting restlessly without ever achieving real resolution. So, for example, Red Family (1951) uses a figure like some Dubuffets; and Head (1951) employs a drawn field akin to some of Pollock’s weaker pictures. But where Pollock mastered a language of personal abstraction, evidenced in his great little painting on paper Number 22A, 1948; and Dubuffet immersed figures in flatted fields, Ossorio, a gifted eclectic always remains uncomfortably suspended between abstraction and the figure."
Plack writes that "The exhibition traces the relationships between Jackson Pollock, Alfonso Ossorio, and Jean Dubuffet, three artists working simultaneously across continents in similar abstract styles during the period of 1945 to 1958. The 53 paintings and prints in the exhibition tell the story of how Pollock, Ossorio and Dubuffet influenced each other through not only their close friendships, but also through the sharing of ideas, techniques and even studio spaces... All three grappled with abstraction versus figuration, and each had an interest in process and materials."
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.