Rubinstein comments: "One of the things that inspired my show was David Reed’s notion that there’s a 'street history' of painting that painters share with each other, a set of references and concerns, and a sense of where they’ve come from and where they’re going. This street history almost never gets into official versions. Art historians and museum curators don’t seem to have much interest in it. The other thing that really hit me was an Art in America review by Carrie Moyer of the last show Stephen Mueller did before he died. She wrote that Mueller and a number of other painters were the 'generation that essentially reinvented American abstract painting in the 1970s and ’80s.' I knew immediately that this must be true, especially because it was a painter I respected who was saying it. I also realized that this was a history that hadn’t been told. Even though most of the painters in my show are quite well known, they’ve largely been left out of the official histories of the 1980s because they don’t fit into Neo-Expressionism or Appropriation Art or Neo-Geo."
Zachary Keeting and Christopher Joy visit the studio of painter Lauren Luloff.
In a statement about her work for a recent exhibtion at Cooper Cole Gallery in Toronto, Luloff wrote: "By painting my close friends and the objects in my studio I have a special moment of intimacy with them... The act of drawing these items, as well as patterns inspired by time spent in India, is a meditation on passing time, on pacifying, and creating a demarcation of my daily experience in the studio.
Some of these painting go beyond such direct references, and become bore abstract narratives, still exploring similar themes of the home, the body, and nature."
Yau writes that "More than fifty years after his work first gained attention, [Johnson's] monochrome silhouettes remain strong and fresh, as well as anticipate the work of Joyce Pensato and others. But they should not be the only works to hold our attention.... At the gallery, in the back room, you can see what are supposed to be Johnson's last two paintings, both of which he completed at the age of ninety-one. Together, they form, as Harvey told me, “a coda to Johnson’s life."
Majumdar remarks that "Things you think about when you're painting, to me, it's interesting… I'll be painting… and I'm daydreaming about a moment of the painting somewhere else. Some people when they work from life they're very much attuned to what they're observing, I often find when I work… I'm starting with something very straightforward and observing what is happening and then trying to find echoes of that in other parts of the painting."
John Yau re-introduces painter Gandie Brodie (1924–1975) whose work is on view in the exhibition Gandy Brodie: Ten Tenements at Steven Harvey Fine Art Projects, New York, through July 1, 2012.
Yau writes: "In contrast to the loaded brush and aggressiveness we associate with [Norman] Bluhm and [Joan] Mitchell, Brodie's work is slow to reveal itself. A self-taught artist, Brodie's method of painting is all his own. His paintings' rough, uneven surfaces compress the gritty exterior walls of the Lower East Side with its multilayered interiors, painted over and over like tenement apartment walls while left unprotected against the ravages of time and the elements."
Asked about the particular combination of abstraction and representaion in her work, Church notes: "when I was spending a lot of time in LA I would sketch from things around me: buildings, swimming pools, trees and flowers, and sometimes people. These drawings eventually became paintings with a different life and language of their own, filtered, as you suggest, through my own vision... I have been including abstracted body parts in my work for a long time... Most of the time they are self-portraits, but occasionally I work from appropriated photographs and so those figures are more removed—they don't have counterparts in real life."
Kobayashi notes that "Paint became my medium of choice for a couple of reasons... It never seemed 'dead' to me. I also liked paint's unpredictability. When approaching my work, I usually have an intention in mind, but often, what I have in mind is different than what actually happens on canvas. A push and pull ensues between what I want and what the paint wants to do. When it works out, instead of a compromise, the result is better than what I could have anticipated."
Bradley Rubenstein reviews the exhibition Gideon Bok: Record Store on view at Steven Harvey Fine Art Projects, New York, through October 8, 2011.
Rubenstein writes: "The subject is the record sleeve, which lies horizontally, creating a trapezoidal shape within the LP-sized panel. [Bok] paints with a rough, expressive hand while listening to the album he is depicting, linking the paint handling with its musical counterpart; Kandinsky attempted this synesthetic experience also in his work... Bok elaborates on or obscures the original cover art (in itself an art form of the past), showing how our “perspective” of the work shifts by our perceptions of it."
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.