Thorson writes: "There is barely a straight line to be found in either artist’s work: amorphous shapes bleed and overlap, soft webs prevail over grids, cascades and whorls create a dynamic of motion and change. At a time when a threatened environment seems to be fighting back, political intransigence has deadlocked social progress, women’s bodies are still seen as subjects for regulation, and the virtual is eclipsing the real, Saccoccio and Greenbaum weigh in on the same side. The works of both artists offer an argument against rigidity, not just in painting, but by extension, in the larger cultural mindset, beginning with their rejection of rules."
Responding to Sigler's comment about her work having a sense of rebelliousness, Greenbaum comments: "It is rebellious, and it’s also this stubbornness I have of sticking to painting, feeling like there’s still so much to do in the two dimensions—even though, as you see, I’m making sculpture. To me, painting is limitless; I don’t need to ironically quote modernist styles or modes of abstraction. I use all of that stuff in my work, but I believe, as corny as it sounds, that you can still be original."
Later in the interview Greenbaum adds: "The most conceptual, theoretical, strategic thinker is also going on intuition on a certain level. Just because my work is loose and handdrawn, it doesn’t necessarily translate into being intuitive. There are a lot of ideas about painting here. I think there is not great language out there for the purely visual, and art historians and others try to describe something that is so inherently preverbal. So that’s where the word intuition comes in. I think it’s the wrong word for a type of thinking that can be very deep but ultimately unexplainable."
John Yau visits the studio of painter Joanne Greenbaum and looks at Greenbaum's other body of work - ceramics - and the relationship between the two modes of working.
Yau writes: "The layering and structuring going on in Greenbaum's current paintings are swayed by her exploration of ceramics. I see her interest in glazes, and her impulse to use them in unconventional ways. This influences her palette, leading her to juxtapositions of different groupings of color within the same painting. At the same time... the ceramics are not a subsidiary of the paintings - they stand on their own. In their folds and bends, and in the way the different colored glazes might run down uneven surfaces, something particular happens, something that Greenbaum got to happen."
Ridley Howard interviews painter Jackie Saccoccio about her work and experience of painting in Rome.
Asked about the reference to portraitss in her recent paintings, Saccoccio comments: "As a starting point, I focus on portrait painting, mostly works from the 1500-1600’s. The original impetus was going through the Thyssen-Bornemisza Museum in Madrid. The presence elicited by some of those portraits—Holbein, Correggio and Ghirlandaio in particular—just got under my skin. So initially, I make notes about their paintings and then try to translate them into an abstract language with color and liquidity. Once I get painting though, its improvisational. The portraits are like one mark zooming way in, and then through to another space, unrestricted and untethered. Maybe celestial or spiritual, definitely transcendent. By making them more material, they become more psychological."
David Rhodes reviews a recent exhibition of paintings by Jackie Saccoccio at Eleven Rivington, New York.
Rhodes writes: "Saccoccio's Portraits, abstract works that make clear an anthropomorphic intention, engage with an ongoing idea in painting... in which each work stands in for a face, the differences manifested through changes in color combinations. Saccoccio’s paintings are such an open-ended group; enough different encounters are possible here, among the individual paintings. A consistency in making encourages comparison from one to the next, yet one feels not like the other, and they are all similar and different: this registers immediately. The subsequent question—why?—leads the viewer toward a consideration of each painting’s character, from how it feels to how it is made."
Vince Contarino blogs installation photos from the recent exhibition Abstract Kansas City at the Nerman Museum of Contemporary Art in Overland Park, Kansas.
The exhibition showcases the museum's collection including a fantastic selection of paintings and painting inspired work by artists with Kansas City roots, including Dan Christensen, Rachel Hayes, Anne Lindberg, Wilbur Niewald, Warren Rosser, Jered Sprecher, Eric Sall, Brian Fahlstrom, Sharon Patten and Stanley Whitney.
In a review of the show (with more images) in the Kansas City Star, Dana Self writes: "Despite their varied media, generational differences and range of material application, the exhibition artists are linked through their devotion to systems of discovery and, of course, their Kansas City connections. Personal narrative, chaos, metaphysical ideas of the sublime and pure formal processes are the schema through which each artist deploys his or her own sense of self and place."
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.