Caro Niederer, Lesen (Reading), 2011, Oil on canvas, 57 1/2 x 44 7/8 inches (courtesy of Hauser & Wirth, New York)
Tom Chen blogs about the work of Swiss painter Caro Niederer now on view at Hauser & Wirth, New York through July 27, 2012.
Chen writes that Niederer's recent work focuses on "everyday subjects, like a kitchen table with a vase of flowers, a street in front of her home, or the basketball court where her kids play. Standing out against the vibrant color palette prevalent in most of her paintings are two sepia-toned 'Brown Paintings.' Like blown-up old time photographs, the paintings exude a warm and gentle light that guides us through what the artist calls 'common subjects.' "
The post includes a video interview with Niederer where she discusses her recent paintings.
Caleb De Jong reviews the exhibition Caro Niederer Paintings at Hauser & Wirth, New York, on view through July 27, 2012.
De Jong writes: "Niederer's transformation of photograph to hand-made object informs her entire practice... [Her] pre-existing source material, family snapshots, postcards, Indian erotic imagery, is twirled through her chosen medium, in this case paint... Niederer's exhibition questions the aura of painting, how it is only activated in a gallery space in juxtaposition to the photograph which is active at all times in our waking and dormant life. For Niederer, painting is aesthetic and hierarchical, while the photograph is mercurial, transitional and most of all, personal."
Phoebe Hoban reviews an exhibition of paintings by Chantal Joffe at Cheim & Read, New York, on view through June 22, 2012.
Hoban writes: "The in-your-face impact of [Joffe's] paintings comes as much from scale as technique. These are big blowups of women, exaggerated and poster-like. There is no visible brushwork or impasto - instead there are obvious drips. It is in these drips, casual yet deliberate, random but not really, that Joffe's latent expressionism lurks. Oddly, one of Joffe's strengths is her sense of purposeful restraint. She is to painting what Raymond Carver is to short stories: an expert minimalist. While employing more detail in her approach to portraiture than Alex Katz, whose legacy she also clearly inherits, she refrains from full-blown realism, implying rather than mirroring reality."
Kalm writes: "With this exhibition, the artist appears to be thinning down her paint, exercising a more virtuosic and slippery brush stroke, and striving for a fresher and more spontaneous style. Melding a goofy figuration with painterly abstraction, viewers are given a choice to appreciate the narrative or the process with which these pictures are fabricated."
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.