Erika Ranee, Geezer, 2013 acrylic, shellac and gold pigment on canvas. 84 x 72 inches (courtesy of the artist)
Zachary Keeting and Christopher Joy visit the studio of painter Erika Ranee.
Responding to Joy's observation that "total extremes... seem at play in each work... every painting has its own distinct voice," Ranee comments that "each painting is its own little torture... a new challenge, a new approach to using these materials that are in opposition to each other... straight-edge/biomorphic... the gloss and the flat, the thick and the thin, the immediate and the more deliberate and slow. It's always in each painting." Ranee continues, commenting: "I'm loud on canvas. I need a certain dynamic - a 'pow' feeling with the paint."
Carrie Moyer, Herr Doktor, 2012, acrylic, glitter on canvas, 60 x 72 inches (courtesy of the artist)
Carrie Moyer: Pirate Jenny is on view at the Tang Museum at Skidmore College, Saratoga Springs, NY from January 26 - May 19, 2013.
The following video, produced by the Tang Museum, shows painter Carrie Moyer at work in the studio. She describes her process, which begins with small black and white collages, and discusses her influences - including Miro's The Farm (1921–1922) and paintings by Christian Schad and Alexej von Jawlensky. She also talks about how she arrived at her current body of work:
Max Estenger visits the studio of painter Mary Jones.
Estenger writes that Jones' recent painting "are her most muscular paintings with form and mass dominating where once thin washes of paint predominated. Her introduction a few years ago of spray paint is now incorporated seamlessly and some of the schematic ghosts from her earliest work have reappeared. Despite the fact that these paintings contain more traditional figure/ground relationships, color continues to play an important role. The newest paintings have large swaths of paint applied with a roller, but not so much rolled as troweled."
Calandra writes: "Wooden pillars that break up the room reminded me of the stretchers that are often visible in Lauren's paintings by either holding a partially translucent canvas or by being seen when her work shown in the round. Lauren enhances found bed sheets with delicate bleach-drawn still lifes and landscapes. She also makes block printed patterns on them, a technique she learned while visiting India. The bed sheets give the work a soft and long lived texture. She then collages the sheets together on canvas to create an initial surface. She further develops the complexity of her compositions by adding oil painted motifs that mimic her original marks, saturating portions of the fabric with pools of solid color, and interrupting the surface of the canvas by cutting out sections to create mysteriously dark breaks in its form."
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.