Jonathan Beer, Studio View, Leipzig (courtesy of the artist)
Painter and blogger Jonathan Beer writes about a recent residency in Leipzig, Germany. An exhibition of Beer's work, Happening and History, will be on view at Kathleen Cullen Gallery, New York, from September 6 - October 11, 2012.
Beer writes "I worried and wondered what it would be like to leave New York and make work in a different city, in a different studio for such a long period, no longer a student but a fully-fledged artist... Would my definition of Work, a creative life that is one both in and out of the studio, survive when truly put to the test?... I came to finally understand what it is like to make work in the studio without laziness, to push beyond a half completed thought and some painting tricks to find something that is earned through work and failure. Painting is an attitude before an action. The best paintings are complex instead of complicated, and appear easy when they were hardest.."
Painters Greg Lindquist and Tom McGrath discuss their approaches to landscape painting and its place in a world dominated by technology.
Responding to Lindquist's question about how his paintings relate to photography and technology, McGrath remarks: "Technology is everything. Photo-wise, it's the old cliche about Impressionism as the secret child of photo, and Pointillism being the forerunner of process color in printing: Sigmar Polke's dots, Bridget Riley's psy-ops, camouflage, the pixel, inkjets and spray paint. These paintings catch light, maybe freeze movement - I hope. The silhouettes, for instance refer to the look of a photogram, a kind of filmic mood lighting."
Kalm notes: "Brown has transformed her neighborhood views into near fantasy scenes that conflates science-fiction landscapes with Color-Field abstraction. Tall stacks of flattened cars on towers recall the scaffolds of Indian burial platforms, and the hulking vertical tanks of cement factories loom large as temple steeples."
Sally McKay writes about the work of painter Monica Tap.
McKay notes: "Tap collects source material for her large, lush paintings by shooting highly compressed digital video through the side window of a fast-moving car... All the depth and luminance is carefully rendered in thick paint. The paintings seem to emit light, like a screen, not because lighter areas are shining through from behind, but because Tap has paid close attention to the kinds of colours captured by the camera. Likewise, the digital-look and feel emerges through Tap’s precise, measured manipulation of the visual language of paint... indeed, all the blurriness is painstakingly constructed with discrete, detailed brushstrokes and nuanced colour combinations."
John Seed talks with painter Mitchell Johnson about his work on the occasion of the exhibition Mitchell Johnson: Are You Going With Me?at Res Ipsa Gallery, Oakland, CA on view from May 4 - June 15, 2012.
Johnson observes that in his paintings "the abstraction was always happening, in many ways all of my paintings are the same because they are about how do you get the color to work, which shapes have meaning. The most significant shift in my work was around 2004 when the shapes and areas of color in my paintings became larger as if I had zoomed in on pieces of my earlier paintings to draw attention to the color and the compositional choices."
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.