Painters on Paintings is a conversation between contemporary artists and their influences across time.
A small painting: 12 inches wide by 16 inches high. Thin, lightly touched scrapes and dabs of paint in ochres, viridian greens, and a flurry of blues.
I love this image. And have for many years. Actually, it’s less about one painting and more about a book of images. I chose this one at random.
Before I can grasp it with my mind, this painting has already saturated and immobilized me. What am I looking at? Not so much a painting as a force.
There is something about feeling that rightness of a painting when I’m 75 that feels so very satisfying.
Evidence of deconstructing form and then “healing” those breaks was apparent in the yellow and pink adhesive substrates bleeding through the crevasses of incisions.
Few previous painters were capable of challenging and disturbing the consumerist mentality and self-satisfaction of the middle class and the economic and social systems that sustained them.
The alchemy of using a fragment of a scan of parsley to represent a forest was a revelation.
The readmission of artists like Grant Wood into high art discourses may open the door to many more types of representation, inclusive of many more places, lives, and subjectivities.
Within a year of exhibiting it, he would never paint like this again