Behnke writes: "Broadworth's layred, evocative pieces present multiple takes on the figure / ground relationship as isolated segments blur or refine depths of field. The focus is constantly shifted. between planes and layers, the hard edge and the liltingly biomorphic. The employed grid combines with a metaphysical openness to lull viewers into a techno trance and jolt them back out again. The resulting paintings are grand, superb hybrids of our increasingly digital environment and a more expansive, human reservoir that we seek even as we leave it behind."
Paul Behnke's photo-blog series features a look at the studio process of painter Brooke Moyse.
Behnke writes: "While her work could be cited as an example of Bushwick's recent New Casualist esthetic, the formal qualities of Moyse's painting have been evolving steadily, into a studied offhandedness, for some years. The quick appearance of her paint application is butted against a sophisticated palette, and accute sense of composition, that lend an air of urbanity to Moyse's paintings. These varied, formal contrasts, along with the ambition and scale of much of her work, make her seem right at home in the current group show at Loretta Howard Gallery in Chelsea. In DNA: Strands of Abstraction, she shares wall space with Kline, Motherwell, Frankenthaller, Poons and Rockburne without missing a beat."
On the occasion of the exhibition Pattern Recognition at the Museum of Contemporary African Diasporan Arts (MoCADA) in Brooklyn, Benjamin Sutton posts a slideshow and an interview with exhibition curator Dexter Wimberly. The show features works by Rushern Baker IV, Kimberly Becoat, Hugo McCloud, Duhirwe Rushemeza, and Sam Vernon.
Wimberly comments: "There are absolutely clear nods to Pollock, there are clear nods to Rauschenberg, de Kooning. There are some allusions to other artists who aren’t necessarily considered abstract artists. There are nods to Kara Walker, to Richter. I think it’s one of those things where you can’t really do an exhibition of abstract painting or mixed media without people seeing the influences of art historical figures. And that happens because our eyes and our brain kind of conspire to draw connections between what we’re looking at and what we’ve already seen. I also think that one of the things that may go unnoticed is that there’s also a tremendous history of abstract art-making, particularly within the African and African American art-making tradition and history. And there are black artists that, in their own right, have become very, very famous internationally as abstract artists, people like Frank Bowling or Frank Wimberly (no relation). So what I also wanted to do was to show that the influences come a lot of different places. Definitely from the Rauschenbergs, from the de Koonings, from the Pollocks, but also from people that folks haven’t really heard of in the mainstream."
Langer writes that "most of the canvas-spanning forms can be contorted into geometric faces. But then, there are the titles, which counter the initial straightforwardness with an esoteric sense of humor that reads as equal parts inside joke and non sequitur wordplays... Beyond the palette and shapes, the paintings and ink drawings... refuse to portray easy relationships amongst themselves... Buried among the smallest of details, however, is one distinct consistency. Flashing along the borders of the figures like a reflection catching the light, streaks of paint and gesso beneath the top layer make fleeting appearances throughout the series. Revealing a twisted web of connections that mirrors the relationships existing across and within works, these glimpses of their foundations hint just enough at a semblance of coherency that attempts at logical understanding of The (Mentholated) Roads Around Naples may not be entirely futile."
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.