Bradford comments that the show, featuring one work each by eight artists, is meant to "celebrate a time when painting with humanist impulses and intimacy and personal stories is very much in the air and of interest."
Kalm notes that Bradford herself, as an educator and an artist, has inspired "approach and content more interested in a painterly empathy with people than a calculated theory."
Jason Stopa interviews painter Katherine Bradford on the occasion of her upcoming exhibition of recent work at Edward Thorp Gallery, New York, on view from April 19 – May 26, 2012.
Bradford notes that "This may be a good time to be doing paintings that appear human or have a humanity that maybe a decade ago wasn't considered very interesting. Interesting - no. It wasn't considered modern enough, wasn't considered groundbreaking enough."
Dufresne remarks: "I am trying to connect with images in reverence, however bastardized that reverence may be. It’s quite perverse, usually. How I interpret this dialog with history is to not make it falsely dry or sweet and not pretend that perception and the given narrative have much in common because they don’t. We see similarity in moments. We recognize ourselves or our experience in a flash or a film still, a painting or a piece of clay for that matter, connections, resonate narratives, and for me, there are instances when I can jump into those narratives and represent the thread–however disparate, however much based on projection–and that this is an honest portrayal of my connection to history and the history of cultural production. My works attempt to engage in the stuff of the world, in dialog with media, cultural production, and history, as performance, and then project it back onto the canvas, completing the cycle as it were."
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.