Jason Andrew blogs about the exhibition Larry Poons: New Paintings at Loretta Howard Gallery, New York, on view through March 2, 2013.
Andrew writes: "I take a step back from the frame and then focus on the surface. Each painting, every one, radiates a Dionysian surge of color against color, paint against paint. If my observations seem general it’s because Poons wants us to see rather than contextualize. He wants us to feel rather than interpret. In pure painting terms, it’s the essence of these paintings that comes out and bowls you over. They originate from chromatic worlds of music and color, creating along the way a visual and emotional sensation ripe with gesture, raw energy, and improvisation."
Sharon Butler blogs about exhibitions by Mario Naves and Brett Baker at Elizabeth Harris Gallery, New York, on view through February 2, 2013.
Butler writes that Naves' "buoyant compositional strategies recall those of his earlier collages, but the smoothly painted, unified surfaces and saturated color of his new work evoke the Indian and Persian miniatures and the 16th-century Netherlandish paintings that [he] considers touchstones." She continues noting that "Baker's paintings are darker and more obsessive than Naves, and they suggest that he is entertaining a philosophical question, trying to convince himself that, despite all practical evidence to the contrary, meaning resides in the process. And so he continues--we all do."
Witmer comments: "Even though my current work may be categorized as geometric, I think I'm quite 'gestural' in my approach to it. Almost every decision I make ultimately comes down to how it feels, or how I imagine that the result will feel to me physically. And when I say physically, let's not forget 'optically.' Seeing often gets connected to thinking very quickly…perhaps more quickly than any of the other senses. I want to stay as long as possible in the moment of feeling myself seeing. I feel best about my work when I feel myself wanting to keep looking at it for the feeling I get when I see it."
Michael Rutherford interviews painter Jered Sprecher. About his painting process Sprecher notes: "The paintings are not planned out; in effect I am constantly introducing contingencies to each work. Limits and unexpected occurrences are barriers to be embraced, challenged, and creatively addressed. If I look at the logic that resides in a particular painting or work of art, there is what is known and unknown. It is that play between the two that creates a poetic challenge that we have to wrestle with..."
Matthew Bourbon talks with painter Todd Kelly on the occasion of the exhibition Todd Kelly: My Own Personal Rebus at Asya Geisberg Gallery, New York that runs through March 9, 2013
Kelly remarks: "I like the way a still life painting presents a group of objects, each object taking on new importance by its presentation and proximity to the other objects. It’s the process of grouping that I like. Each of my paintings is started by whim as much as by design. I’m inspired by materials, by the work of other artists, by nature, by visceral forces…all sorts of things. So the paintings come out quite different one from the other. The possibilities for creating interesting groups of similar or conflicting paintings are endless; an infinitely expanding universe. Also, it seems there is much hand-wringing about the current lack of 'progress' or avant-garde in painting lately. But it’s all good with me. I see my work in the studio more as exploring around the already conquered territory looking for a place to settle or develop. We aren’t really in need of more territory as far as painting goes."
Steven Alexander blogs about an exhibition of paintings by Mara Held at Gary Snyder Gallery, New York, on view through March 2, 2013.
Alexander writes: "Held makes paintings that operate both as ecstatic images and as exquisite objects. Her images are built with curving concentric contours that intersect and interact to form complex undulating spaces... The paintings are made with egg tempera on nubby linen in an excruciatingly painstaking process. The lines of brittle paint sit on top of the linen almost like collage, giving the surface the quality of a relief or a tapestry. These paintings are bathed in sensation and sensuality, as though the doors of perception have been taken off their hinges."
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.