Pocaro writes: "Binion’s larger, more rural works... stand out. These misty-toned 'Circuit Landscapes Nos. V and VI' are freer in their deference to the Modernist grid, retaining the more ridged works’ austere coloration but with enhanced emotional purchase. Like ethereal heirloom quilts on antiseptic walls, they hang unpretentiously without stretchers... By maintaining an ongoing dialogue with his roots in the agrarian south, Binion’s paintings are largely symbolic, achieving a spiritual resonance that defies the typically reductive materialism associated with East Coast minimalism. "
David John posts an excerpt from an interview with Arne Glimcher where Glimcher recalls his final conversation with painter Agnes Martin.
Glimcher remarks: "I was there at the end of her life and she said ‘go down to the studio, there are three paintings. Hanging on the wall is the one I want to keep, I want you to destroy the other two.’ So I went down to the studio. The two paintings she wanted me to destroy were magnificent – absolutely perfect. The one on the wall was a very stormy painting, unlike anything that she had made since the 60s. I certainly didn’t want to destroy those two spectacular paintings but I did. I sliced them to ribbons and put them in the trash. When I came back. She said, 'did you do it?' I said, 'I did it.' And that was that. Our last conversation."
Caleb De Jong blogs about the recent exhibition Tom Fairs, Drawings at KS Art/Kerry Schuss. De Jong writes that Fairs' "Graphite renderings of thistles, thatched cottages, shrubs and cathedrals impart moments of reverie... [are] worked from an internal reference point... profoundly influenced by nature and looking."
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.