Installation view: Dannielle Tegeder: Painting in the Extended Field (photo by John Bentham, courtesy of the artist)
Annie Godfrey Larmon interviews Dannielle Tegeder on the occasion of the Tegeder's exhibition Painting in the Extended Field at the Wellin Museum of Art, Hamilton College, on view through July 28, 2013.
Tegeder comments: "The problem of the 'death of painting' is central to my work. I identify as a painter, even though I work in sculpture, animation, sound, and installation. I continue to paint and teach painting in an MFA program because I think painting can be both traditional and transgressive. Painting is now contextualized with so many mediums. When I make my work, including the more traditional two-dimensional paintings, I also consider how they function in the context of the Internet, and how we as humans function every day among multi-media experiences. A fixed, two-dimensional painting behaves very differently now than it did even 20 years ago, before our contemporary networks and iPhones... It’s interesting to move into sculpture and move back into painting, to think about how each context informs the other."
David Sweet looks at the role of detail in abstract painting through the work of Robert Holyhead, Mali Morris, and Juan Usle.
Sweet writes that unlike these painters "there are plenty of current practitioners whose work, which is abstract by default, contains lots of superimposed, busy, ornamental passages, but who treat detail casually, as though it is a relatively trivial matter. In an era of high definition, however, the resolution which detail brings, whether handled intelligently or not, appears to be an increasingly important, even essential part of a contemporary pictorial strategy."
Street notes that: "Andrew Sendor’s recent paintings describe the future in terms of the past. Interiors that recede efficiently according to fifteenth-century pictorial principles – this in front of that, the doubling shadows of objects in a daylit room – are used to limn a vision not of the secure present or noble past but of the near future. Their stilled, held-breath atmospheres suggest this; their titles confirm it. All is stilled and held: videos stopped at a single frame, figures locked in time. The worldly and religious certainties implied by perspectival space (Jerome’s quill pausing over a translated verse) are inverted. This space is neither religious nor aristocratic: it’s a scaffolding of certainty that allows its opposite to be explored. Sendor’s paintings exist within the strange and contradictory tense of Roland Barthes’ caption in Camera Lucida. Under an image of Alexander Gardner’s photographic Portrait of Lewis Payne is written, almost casually: he is dead and he is going to die. This has happened and this is going to happen. The tension makes the paintings seem clenched, humming."
Hassell writes: "To put it simply, Francis’s work is something of an intellectual feast. She is one of those people whose baffling understanding paired with a grasp of such a wide range of ideas allows her to distil profound notions into rather approachable terms. Seemingly simplistic at first, when prodded to explain, her thought process becomes clear in such a way that the truth of her statements seems inescapable. Her work is very similar, which makes perfect sense. The abstractions she chooses to pursue are derived of massively relatable notions reduced down to concise forms, which then open back up to their originally far-reaching impact given a little investigation by the viewer."
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.