Karla Wozniak, PilotEastTennessee, oil on panel, 39x46, 2012 (courtesy of the artist)
William Eckhardt Kohler blogs about the "weekend" exhibition Mark, Wipe, Scrape, Shape at Spaceshifter - the studio of painter Sangram Majumdar.
Kohler features "11 painters, Michael Berryhill, Gideon Bok, Matt Bollinger, Katherine Bradford, Tom Burckhardt, Jackie Gendel, Amy Mahnick, Majumdar, Kyle Staver, Didier Williams and Karla Wozniak, work in a variety of idioms; perceptual, abstract, poetical, narrative and conceptual... The dominant tone of these artists' orientation is that of idiosyncratic visionaries, rolling up their sleeves and forging a personal understanding of what painting can do. What is demonstrated here is that the newness is in what each artist brings to the table as each their own brilliant self; original rather than ideological or radical."
Regarding observation based painting, Majumdar notes: "I have always been an image-based painter, regardless of the source, be it photography, working from life, or pure invention. Often the reason I start with something physical and actual is because it gives me something to fight against. There's an immediacy to the experience that gets actualized through paint. But I also work from photos, memory end maquettes. Over the last couple years, I have been doing a series of paintings that take everyday objects and 'cast' them in a theatrical manner in my studio -- a place I often think of as a stage-set.' Basically, I am open to all sources. Painting for me becomes a way to undo the logic, and create a space that is interstitial and ephemeral."
Gallup writes: "The lush surfaces reveal under-painting and a sense that she is searching for her subjects, allowing them to reveal themselves slowly through the painting process and within their own invented time. The layering becomes part of the narrative and gives the work depth and spontaneity. I admire how Bradford is able to balance abstract elements with figurative images, both sharing equal time, neither losing their distinctive differences while adding a fluid interrelatedness."
Staver painted the triptych to honor her brother who passed away six years ago. Seed writes "Although the paintings can be seen together as a cycle, Staver is mainly concerned that each image tells a strong story that can be related to the other panels. 'What is important for me, as a painter,' she relates, "Is that the three panels hold together and have the 'gestalt' to be cohesive, without relying on pictured sequencing, as in comic books.' Another element that connects the paintings is humor, something Staver finds essential; 'I do think humor is terribly important in painting. It is the constant and steady reminder of our humanity; the foible aspect of being alive.' "
Winant posts a list of thoughts evoked by the exhibition. She writes: "I believe that this enumerated strategy will better serve objects that, by their very nature, elude clever and perspicuous description." Berryhill's work, she notes, conjures "the limits and possibilities of looking at something and trying, endlessly, to paint it."
Yau writes: "At his best, Burckhardt is able embrace both the abstract and the representational is such that we must read the paintings in different, often contradictory ways without ever reaching a conclusion.... By establishing contradictory possibilities, Burckhardt echoes both his love of, and disbelief in, painting. He refuses to be either nostalgic or cynical."
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.