Joanne Freeman, All Is Not What It Seems, 2012, oil on canvas, 48 x 36 inches (courtesy The Painting Center)
Mario Naves posts his catalogue essay for the exhibition Wit, curated by Joanne Freeman, at The Painting Center, New York through February 23, 2013. The exhibition features works by Marina Adams, Polly Apfelbaum, Joanne Freeman, Joe Fyfe, Barbara Gallucci, Phillis Ideal, Jonathan Lasker, Sarah Lutz, Doreen McCarthy, Mario Naves, Thomas Nozkowski, Paul Pagk, Ruth Root, Fran Shalom, and Stephen Westfall.
Naves writes: "Eschewing the purity that was once abstraction’s sine qua non, the artists featured in Wit opt for an almost promiscuous inclusivity. No inspiration is suspect. High-flown ambitions–sure, we got ‘em; historical cognizance, too. But these artists are also characterized by a willingness to embrace a veritable laundry list of references: nature, narrative, comics, design, technology, science, representation and, not least, humor. Not that humor has been entirely absent from the history of abstract art: Malevich pranked Mona Lisa five years before Duchamp and Mondrian paid winning homage, in oil and canvas, to his beloved boogie-woogie music. Still, abstraction nowadays is more and more a repository of quirks, tics and pictorial double entendres, having as much in common with Buster Keaton, say, as Neo-Plasticism."
Roberta Smith noted in a 2010 review that "Ms. Apfelbaum... [is] trying a new tack. Working in a manner reminiscent of the colored-glass technique of milles fleurs, she has fashioned small, smooth, brightly patterned panels she calls Feelies from contrasting shades of polymer and plasticine clay. There is a cuteness factor here, but it is quickly overruled by the blazing colors, assorted stripes, dots, checks, swirls and grids and abstract intelligence evident in the 200- plus examples."
Some of these works are visible in Abelow's photos.
Zachary Keeting and Christopher Joy visit the studio of painter Thomas Nozkowski.
As well as sharing a look at his works in progress, Nozkowski shares his thoughts on painting. He remarks: "I… believe that if you can imagine a problem, something to make a painting of, you can also imagine a solution. So whatever the original source is for a painting, I try to stay true to that until the end of the painting. I don't give up in the middle and say 'Gee this would be much better turned upside down' and turn it into some other subject. So the subjects stay there as a touchstone that you can go always back to and reexamine for more information to make the paintings out of."
Interview with painter Paul Pagk about his work and studio practice.
Pagk says: "I spend my time painting even in those moments I am not physically painting... [in the studio] ... I will be thinking about the last paintings I have just worked on or brought to a level from where I am able to move on to the next work. I spend my time adding and removing from the painting, finding the color, the light, removing an element, adding to remove once more, allowing the painting to slowly define it’s self."
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.