Micchelli writes that the show, which features works by Ariel Dill, Clare Grill, Kristina Lee, Sarah Faux, and Tatiana Berg, "is predicated on the belief that 'mundanely subjective perceptions can yield extraordinary insights,' and it succeeds within its own boundaries. While those boundaries are rather narrow, in a broader context Casualism, with its humble anti-heroics, acts as a necessary corrective to the overblown production values that have carried away most of the market’s high end as well as the lion’s share of media attention. Casualism’s importance lies as much in the immediate, restorative transaction between artist and artwork as it does in its philosophical open-endedness."
Maria Calandra visits the studio of painter Ariel Dill whose exhibition Oscillations is on view at Southfirst Gallery, Williamsburg, Brooklyn through May 27, 2012.
Calandra writes: "Ariel's paintings are lush musings on color, pattern, and, as described in the title of her exhibition, oscillations. She arrives at these vibrating medium-sized works both through her vast experimentation in brush stroke and her contrasted pairing of pigments... I saw her repeating single movements with short marks like you might do in a dance in order to gain emphasis of form or interest. These impromptu choreographies of Ariel's gave way to a very engaging series of eight canvases."
Zachary Keeting and Christopher Joy interview painter Clare Grill.
Grill discusses the source materials for her abstract paintings but she comments: "Often I'll start a painting with some kind of.. image or thing, then once the painting starts, the painting starts to have it's own set of rules at play, and then that's where the concern is... It's moved on from what it's source was." She continues noting that her sources are "inspiring but they're a jumping off point... I'm moved to make paintings and those are the things that I'm caring deeply about and trying to follow."
Valerie Brennan interviews painter Kristina Lee about her work.
Lee notes: "I have an archive of screenshots from action movies and YouTube clips that I was referring to a lot in the past. The images are of women engaged in physical and violent acts like wrestling, boxing, and 'girl-fights.' Watching video and looking at video stills allowed me to focus on specific actions that represent the kind of movement I’m interested in, which is very physical, yet choreographed and graceful... The process in making the paintings is very layered. I start with a ground color that typically gets covered in the end, but it gives me a starting point and something to work off. Everything from then on is a series of reactions."
Zachary Keeting and Christopher Joy visit the studio of painter Sarah Faux. Faux discusses discusses her process and materials in depth, including her use of bleach, dye, and spray paint in addition to oil on canvas.
Asked about her three-dimensional "tent" paintings Berg comments: "My tent-paintings arose from a curiosity wondering what a painting looked like broken open, its interior structures and materials exposed. All two-dimensional work indulges in illusionism to some degree, but the tents allow me to get line and color off the wall and into corporeal space. They’re made of all the same stuff as a regular painting—canvas, wood, staples, hardware, paint—but all remain determindly visible. To me the fun is in knowing; if the wonder’s gone when the truth is shown, there was never any wonder in the first place. In brutalizing and exposing the material structures of painting, I think the wonder remains, and that’s encouraging."
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.