Stephen Posen, Red Crossing, 2012, oil on ink jet, 44 × 62 1/2 inches (courtesy of the artist)
Richard J. Goldstein looks at the recent work of Stephen Posen which merges painting and photography.
Goldstein writes: "Access and memory are two words that come to mind when viewing Posen’s work. His initial question of communication in turn became one of recognition. How does the viewer comprehend recognizable space through added layers of concealment? This comprehension is all about access to the recognizable ground which, when visually obstructed, relies upon memory and intuition to complete the picture... Through the years, the strategies may have changed but the game is still the same for Posen: how one accesses meaning in the languages of paint and photography via memory."
Painters Greg Lindquist and Tom McGrath discuss their approaches to landscape painting and its place in a world dominated by technology.
Responding to Lindquist's question about how his paintings relate to photography and technology, McGrath remarks: "Technology is everything. Photo-wise, it's the old cliche about Impressionism as the secret child of photo, and Pointillism being the forerunner of process color in printing: Sigmar Polke's dots, Bridget Riley's psy-ops, camouflage, the pixel, inkjets and spray paint. These paintings catch light, maybe freeze movement - I hope. The silhouettes, for instance refer to the look of a photogram, a kind of filmic mood lighting."
The curatorial statement notes that "none of the artists thought of themselves as photographers. These were private objects, often made for the same reason people use cameras to this day: to commemorate events or capture precious moments with friends or loved ones. The artists sometimes translated their photographic images directly into their work in other media, and when viewed alongside these paintings, prints, and drawings, the snapshots reveal fascinating parallels in foreshortening, cropping, lighting, silhouettes, and vantage point."
At the end of the podcast Green also interviews painter Anne Appleby, whose work is on view at Danese Gallery, New York through March 10, 2012.
Pittman remarks: "Being a person who makes reductive work was challenging with this project because I might have been interested in... close-up shots of a wall, any wall... A monochrome painting is a lot different from a monochrome photograph, and I like to use photography to do things I can’t do with my painting. And I guess a lot of times I’d rather take pictures of things than draw them. They’re different stories, photography and painting."
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.