Bernstein writes: "The white space in Toko Shinoda's prints and paintings is a mark whose character is defined by the other marks in the composition. Her elegant marks stretch and pop with the power of the elegant nothing surrounding them. Their very existence is defined by the nothing; they become significant characters, personalities even, as they sit, confronted and foiled by the expanse of white. In essence, each mark is made portrait by this empty space, situating each form's function, and relaying the nature of their meaning. Shinoda's work inculcates her study of calligraphy and poetry into prints and paintings of astonishing force and grace. Her work was influenced heavily by the American Abstract Expressionist movement of the fifties and sixties. Her exhibition, '50 Prints and Paintings' at the Japanese Gardens this month is a visible nod to the metaphysics of form and the relevance of beauty. In our interview, Norman Tolman relayed to me that the Japanese word for art is 'beauty.' Within the realm of beauty, subversion seems even more subversive, as beauty is often passed by and dismissed as vapid in a postmodern world. Shinoda, however, waves its flag with a smirk of knowing and a longer working history than any movement can boast. She is an anomaly of the constant and holds court with artists such as Lee Ufan and Cy Twombly, whose oeuvres not only exemplify yohaku and deconstructionist ideas of ecriture, but discuss the perception of time and the notions of visual story-telling as well."
Kyle Chayka reports on a lecture by painter Jack Whitten on the occasion of his exhibition Jack Whitten: Erasures, on view at the SCAD Museum, Savannah, Georgia, through March 31, 2013.
Chayka writes: "New York’s frenetic milieu allowed Whitten to refine his practice, moving from derivative Abstract Expressionism to an automatic form of painting informed by manufacturing, speed, and minimalism. He adopted a physical materiality from African sculpture and focused on questioning the faith in gesture of the New York School. 'I stopped using the word ‘to paint,’ and said ‘to make,’ ' he explained, showing images of canvases he created by dragging saw-toothed planks across expanses of pooled paint. These paintings, which saw Whitten reduce his work down to a single gesture, are currently on view at the elegantly renovated SCAD Museum of Art. In contrast to some Abstract Expressionism, the work still feels fresh, largely due to its mechanical clarity. Whitten described that he thought of these paintings as having the qualities of a single line — a discrete piece of visual information."
Donald Kuspit reviews the recent exhibition Colorful Realm: Japanese Bird-and-Flower Paintings by Ito Jakuchu (1716-1800) at the National Gallery of Art in Washington D.C.
Kuspit writes that "It seems possible to link Jukuchu's 18th-century Japanese nature paintings to 19th-century European paintings romanticizing nature... But European paintings that 'romanticize' nature, whether as ingratiatingly idyllic or in stormy action, don't fully enlighten us about the truth of nature as Jukuchu's paintings do, however fewer the details of nature on which they focus, not to say meditate. The European romantic nature paintings are simply not as beautiful, esthetically shocking, profoundly meaningful, and 'knowledgeable.' "
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.