Christopher Knight profiles painter John McLaughlin, "L.A.'s first artist of authentically international stature."
Knight notes: "What McLaughlin did with these stripped-down tools remains one of the great achievements in 20th century American art. Ignoring accepted rules, his sophisticated paintings pry open perceptual space. Almost surreptitiously, they grab hold of your optical apparatus and undermine conventional habits of seeing."
Morgan writes: "As the desire to see flashy and exorbitant mannerisms in painting appears quantitatively present, yet qualitatively in decline, McLaughlin’s pristine rectangles within rectilinear formats, measuring roughly 48 by 60 inches, hold forth with modesty, even dignity. In any case, it is inconceivable that anyone could grasp a sense of the actual painting through a digital reproduction of the work. McLaughlin’s paintings require as much attentiveness to placement as to the space contained by the work itself. Here the artist clarifies the importance of the viewer’s relationship to his work in physical space: 'as you approach it, [the painting] begs the element of the ‘Void’ and rightly so. To rationalize its function would invite inner thought peculiar to the individual. That is to say that the Void freed of the oppression of the object invites contemplation suitable to its capacity.' "
Saul Ostrow looks at a group of works by painter Don Dudley made in Los Angeles before the artist moved east to New York. The works were part of the recent exhibition Don Dudley at I-20 Gallery, the artist's first solo show in 25 years. Ostrow puts Dudley's works of the mid 60's in context with the concerns of Los Angeles artists at the time. Although Dudley pursued other directions in his painting after relocating to New York, the Ostrow writes that from the LA works " one gets the sense of an important course within Minimalism as well as abstract painting that has gone unacknowledged and unexplored. "
De Jong writes that "Hammersley - who served in the military in WWII and studied in the Ecole de Beux-Arts in Paris where he met Picasso and Braque - fits more easily as an honorary late figure in the School of Paris. Hammersley's simple use of shapes, especially the diagonal and zigzag, distantly yet distinctly mirror Braque's late studio interiors while his bold, intuitive use of color borrows from Miró."
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.