In the Lure of Paris Halasz finds Jules Olitski and Ed Clark to be standouts. She writes: "Olitski seems to have been one of the few Americans actually looking at the better postwar French painters practicing the French equivalents to American abstract expressionism known as tachisme or l’art informel..." Halasz continues: "[Clark] is... known for having painted with push brooms instead of brushes... [his painting] benefits from the use of large, sweepingly simple forms and clear, vigorous colors, wisely limited & separated from each other -- much livelier than the blackened, bush-like center in the Joan Mitchell on display, or the muddy, overdone creation of Al Held."
The Lure of Paris provides a fitting backdrop for Halasz to view a show of new paintings by Carolanna Parlato: "[Parlato's] intuitive color sense is one of the strong points of the current show... Also, her paint is a lot thinner than the hallmark smears of the 50s, sometimes transparent in fact, when an almost dry brush appears to have been stroked across the canvas, depositing only hair-like lines of paint, as opposed to solid areas, and allowing the complimentary undercoat to shine through. Finally, at its best her organization is a lot stronger than most of the tyros at work in 'The Lure of Paris.' "
Robin Cembalest writes about Jackson Pollock's little-known sculptures from 1956, on view in the exhibition Jackson Pollock & Tony Smith: Sculpture at Matthew Marks Gallery, New York, through October 27, 2012.
Cembalest writes that "the lowly status of Pollock’s object-making has its roots in the artist’s own day, when painting was considered the pinnacle of Abstract Expressionism—and sculpture, as Ad Reinhardt famously put it, was 'something you back into when you look at a painting.' It didn’t help that Pollock’s sculptures hardly resemble his drip classics. The humble objects don’t scream 'Pollock,' or action, never mind painting. Most of his extant sculptures, under a dozen, don’t even resemble each other. And their hands-on quality—hammered copper, hand-built clay—contradicts the popular image of Pollock conjuring his abstractions in a rhythmic ritual dance."
Sharon Butler posts a new video on the painter Jules Olitski produced on the occasion of the exhibtion Revelation: Major Paintings by Jules Olitski, at the Museum of Fine Arts Houston, Texas, on view through May 6, 2012.
In the film Olitski dicusses the "meaning" of abstracion and his work, noting: "Decisions are being made a mile a minute as you're making the work, and that has to come out of experience and vision."
Artists such as Anthony Caro and Willard Boepple also weigh in on Olitski's work.
Wragg writes that Mitchell's last paintings express "a feel of an embrace and exuberance, a generosity and love of the outdoors, of air, light and being enveloped... Her work has been little seen here in the UK. In the contemporary climate with so much work stifling, airless and digitally confined... she is quite a breath of fresh air.
Rachel Youens talks to painter Carolanna Parlato about the evolution of her painting process and her new paintings which were recently on view in the exhibition Behind the Sun at Elizabeth Harris Gallery, New York.
In her earlier work, Parlato notes: "I would let a painting evolve over a day; I would tilt the canvas and let gravity direct the paint, then pour in more colors and push it off the edge by rotating the canvas. By using different viscosities of pigment in the subsequent pours, forms emerged and the composition evolved." In her recent paintings, she remarks that "creating a dialogue between the brushed areas and the poured parts was the challenge. My process is now less apparent and much more complex. Painting became my means of discovery... There is something satisfying about making a mark with your own hand. I am not sure if I rejected it, it didn’t make sense for me until now."
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.