Kevin Appel, Salton Sea (green rug), 2012, acrylic, oil, and UV cured ink on canvas over panel, 77 x 66 inches (courtesy of Susanne Vielmetter Los Angeles Projects, Photo credit: Robert Wedemeyer)
Geoff Tuck reviews the exhibition Kevin Appel, Paintings at Susanne Vielmetter, Los Angeles, on view through August 23, 2012.
"There is a photographic base to these paintings – Appel takes pictures of landscapes ('in the landscape,' the artist says) and he mechanically applies them to treated canvas and then by hand he paints over them. (Here I want to keep in mind the insubstantial nature of photographic images.)... looking at Salton Sea (heap), I find black, oily smears, these are veined as though they are spreading or are under pressure. (There are such colored smears on several paintings in the show.) The smears remind me of chemical mishaps that might be experienced using Polaroid cameras, when the developer would squeeze out of the pouch across the photo print. Appel’s paintings, which were begun in the camera, make reference to the photographic process again and again."
Richard J. Goldstein looks at the recent work of Stephen Posen which merges painting and photography.
Goldstein writes: "Access and memory are two words that come to mind when viewing Posen’s work. His initial question of communication in turn became one of recognition. How does the viewer comprehend recognizable space through added layers of concealment? This comprehension is all about access to the recognizable ground which, when visually obstructed, relies upon memory and intuition to complete the picture... Through the years, the strategies may have changed but the game is still the same for Posen: how one accesses meaning in the languages of paint and photography via memory."
Hammersley discusses his general thoughts on painting as well as the specifics and development of his practice, including what he calls painting by "hunch" or intuition: "You put down a shape and they just lie there, and then you make a movement and it comes alive. I've never quite understood that, but it's marvelous. The shapes have attitudes and the painting just clicks."
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.