Cohen writes: "At ease and optically generous as these paintings are, they are actually radically cropped because gestalt depends upon something beyond the canvas itself. The edge of the picture, indeed, rarely defines the composition, even less the boundary of an individual shape. This imparts narrative and metaphor to works that would otherwise want to feel present tense and literal. Adams’ target-like compositions, like Space Embrace, (2011) are almost programmatic in the way they soften, “feminize” even (her bulls eye is difficult not to read as a breast) that trope of modernist hard-edge... But rather than suggesting Adams as some kind of soft neo-romantic, these strategies come across more as 'post hard,' as if her relationships to Mangold, Kenneth Noland (targets) or Ellsworth Kelly are akin to Eva Hesse’s to Donald Judd.
Belz writes that "each [artist] has now been painting for more than four decades, and each has in the process periodically made ambitiously large pictures, as well as pictures that are frankly and unapologetically beautiful, candid in celebrating color as a vehicle of emotional content, intuitively smart in structuring its deployment to assure the content's credibility. Regularly inspired by their modernist past, yet at the same time unburdened by it, each has also looked periodically to nature, not in opposition to abstraction, which was the charge presented against painting nature in the 1950s, but as a resource for enriching it."
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.