Jacqueline Humphries, Untitled, 2012, oil on canvas, 90 x 96 inches (courtesy Greene Naftali gallery)
Caleb De Jong reviews an exhibition of new paintings by Jacqueline Humphries at Greene Naftali, New York, on view through April 28, 2012.
De Jong writes: "Splayed outwards, Humphries centripetal compositions reference nature in their all over, structurally organic chemistry. Lacking clear chromatic referents to nature, Humphries' paintings instead operate independently of a clear representational imperative. Stark, bold and clear, Humphries' paintings sponsor the experience of the changeable conditions of nature, and perception itself."
Paul Soto interviews painter Jacqueline Humphries about her work on the occasion of a recent exhibition of new paintings at Greene Naftali, New York.
Humphries remarks that in a "passage about the stylistics of film noir [Paul Schrader] talks about how the character, or figure, in noir films, is unlike the figure in Western or gangster films, where you have a vertical figure against a horizontal background that he stands out from. In film noir, the figure is completely collapsed into the picture. His face is often in shadow when he is speaking, and he is completely embedded in the atmosphere and light of the frame. Schrader says something else that is interesting, he says, 'No figure can speak authoritatively from within a space that is continually being cut into ribbons of light.' I feel this statement captures something that I am after in the paintings, of complete embeddedness, with a sense of the painting itself as figure, conterminously layered on top of and under the ground. The ground is the figure, background is identical to figure."
James Kalm visits the exhibition of new paintings by Ron Gorchov at Cheim & Read, New York, on view through April 28, 2012.
Kalm notes "in the late sixties that Gorchov devised his unique painting support, often referred to as a 'saddle shape.' The use of this convex surface was a refutation of Clement Greenberg's dogmatic idea that the picture plane must be flat, and rectangular. Along with his 'saddle shape' canvases Gorchov has developed a 'stack' format, a series of curved planes overlaying each other, that he paints sophisticated color studies on. This exhibition presents recent examples of Gorchov's works that display his innovative comingling of painting and sculpture and the mastery of his means."
Alexander writes that Rachfal's works are "spare and deeply evocative paintings... Employing an iconic motif -- a rectangle with a slightly curved angular top, contained in varying ratios by a solid field and the edges of the canvas -- the artist explores the nuances of proportion, touch and color. The surfaces vary from impasto to thin veils of oil, arrived at through a long slow intuitive layering process that leaves traces of each previous action."
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.