Lisa Adams, Vicissitude of Circumstance, 2010, oil and oil paint pen on panel, 36 x 30 inches (courtesy of CB1 Gallery)
Julia Schwartz interviews painter Lisa Adams about her work.
Adams comments: "I usually work off of visions—almost like hallucinations. Sometimes the visions come in multiples but usually they appear one at a time. I go with that image, make a quick thumbnail sketch and work out from there, adding to and/or making modifications. I also compose the beginnings of a painting on the computer but I don’t paint those images verbatim. I’m mostly just interested in composition at that point. I love using the computer as one tool in my process."
Adams will have a solo exhibition at CB1 Gallery, Los Angeles from April 7, 2013 through May 12, 2013.
Holly Myers reviews the exhibition Lisa Adams: Second Life at CB1 Gallery, Los Angeles, on view through May 12, 2013.
Myers writes that "If painting can be said to live at the threshold between the external visual world of objects and the internal visual world of the imagination, the relative pull of either pole varies widely from artist to artist." In Adams recent paintings, Myers continues, "the tug of war is palpable... It is not a shift from representation to abstraction — Adams has always moved between the two — so much as the loosening of a hold on representational objects, with all their advantages and limitations, and a self-conscious embrace of the more nebulous terms of imaginative space."
Mira Gerard conducts an extensive interview with painter Barbara Friedman about her work, process, and career.
Commenting on her recent work Friedman remarks: "Lately, I’ve been setting up my portable easel and painting in museums, making pieces based on the paintings or sculptures there. So far I’ve worked in several museums: the Metropolitan, The Hispanic Society, and the Brooklyn Museum. In a way I start out each time behaving like an artist making copies of museum pieces; but by the time I’m finished, the result is pretty far removed from the original. Again, I’m trying to represent my own skepticism about the possibility of representation. So I’ll zero in on a Goya or a kouros figure, or maybe something by Manet, and then we’re talking about reductive strategies again – blurring, scraping, scratching, wiping – until my rendition teeters on the verge of disappearing. But I’m not just making the copy in order to make it go away again. Sometimes the blurring and the scratching let some features spring into focus coming forward from the rest... Whatever happens, the source painting threatens to become unrecognizable in my painting. So while it’s important for me to behave like a copyist in the museum, I’m also saying (or I’m telling myself) that even copying is not copying. Even what you might call passive copying is the active work of digesting and reinterpreting a work. Standing in a museum is not just taking in its appearances, because when you absorb what you see you’re also owning the experience, making it your own."
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.