Nichole Van Beek, Curtain Call, 2012, acrylic on canvas, 25 x 29 inches (courtesy of the artist)
Zachary Keeting and Christopher Joy visit the studio of painter Nichole Van Beek.
Van Beek discusses her recent paintings which derive their visual power from the juxtaposition of opposites. Graphic and painterly marks, pattern and hard-edge shapes, dim and saturated color coalesce in each work to achieve unexpected unities.
Van Beek comments that "a lot of the work is that balance between... 'it happened' and then also having this planned structure. And it comes into play in a lot of different ways. So, being controlled and also being free and having those two things come together..."
Fee writes: "I like Olson’s directness with her paintings’ surfaces, like how she squeegee’d broad blood-orange bars across the gauzy, drybrushed grayscale Weave. These measured bands may seem at odds with the lyrical backdrop, like crashing Park Seo-bo‘s austere mechanics with Christopher Wool‘s gritty choreography—yet Olson’s sure hand makes it believable, and the combination works... Olson doesn’t treat her works preciously, but she brings them to the exact stage where we, the viewers, become that palmist and editor to contemplate them further."
Michael Rutherford interviews painter Robert Janitz about his work.
Rutherford's introduction begins: "Paint on canvas and their combined affect on a viewer are what painting is all about. I can’t help but admire an artist who uses those materials in a bold matter-of-fact way, and the paintings of Robert Janitz are exactly what I mean. There’s no wondering about how they were made and there’s no ooing & aahing over them to be done. They’re tough and visceral, with paint that’s honestly, truthfully applied—just workmanlike, and a resulting grace that transcends the means of its application. While some painters have gone off the picture plane in order to push forward (a move which I also admire), Janitz has stuck with the stretched canvas, and I’m thankful he did. He’s a well-informed painter, digging deep into art history and pulling in references from far enough back that the resulting work is spiced and nuanced as if it were from some old lost recipe newly found."
Kirkland writes that the "exhibition’s title refers to Phillips’ interest in the relationship between the fixed, stable quality of finished artworks and the active, immediate way in which the viewer processes them... Phillips’ works underscore our craving for narrative familiarity and our insistence on transforming abstract lines into recognizable objects and forms... For Phillips, the challenge of communicating organic, real-world subject matter through a limited, geometric formal vocabulary is endlessly intriguing."
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.