Monkeys and Bears in the Kishkindha Forest, from the Ramcharitmanas of Tulsidas, circa 1775.

Souren Melikian for the International Herald Tribune writes:
Soon, rhythmical repetition became the painter’s overriding preoccupation, leading to some of the most striking creations of the Jodhpur school of royal painting. Its most extraordinary works were inspired by the Ramayana, the ancient epic originally composed in Sanskrit. Recast in late-16th-century verse by the poet Tulsidas, who wrote in vernacular Hindi, the epic which recounts the story of the heroic god Rama gained a renewed popularity. By the second half of the 18th century, Diamond notes, the Hindi version of Tulsidas spread by itinerant ascetics had traveled from Varanasi in eastern India, where it was composed, to Rajasthan in the western part of the country. It was recited at court and selected scenes from it were re-enacted.

A series of monumental folios painted around 1775 deal with it, projecting visions of an enchanted fairy-tale world.

In a landscape representing the forest of the monkey kingdom Kishkindha, pink peaks shoot up above low turquoise-green hills where groups of seated monkeys deliberate. In the lower area, bears stand talking to one another. Right at the top, white geese perched in trees fly off into the sky. Colors and motifs achieve a rhythm in tune with the rhythm of chanted verse.

While the paintings are rather coarse, betraying the decadence that hit Indian art in the 18th century, the poetic feeling remains remarkable. {Read More…}

Garden and Cosmos: The Royal Paintings of Jodhpur
October 11, 2008–January 4, 2009
Arthur M. Sackler Gallery

The website also has this great interactive feature with photos and audio clips.

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Zhao Chunxiang (Chao Chung Hsiang; 1910-1991) / Calling You / diptych, ink and acrylic on paper / 183 x 177 cm / Private collection

Chao Chung Hsiang, as he is usually known, graduated from the Hangzhou National Academy of Art in 1939, and the following year was appointed by the Ministry of Education to work in the Northwest Artifacts Survey Group. He moved to Taiwan in 1948 and then traveled in Europe before settling in the United States in 1958. This abstract expressionist painting, which combines Chinese ink and acrylic color, is typical of his work of the period. He returned from New York to Sichuan in 1990, and died in Taiwan the following year. This work exemplifies a recurring trend among Chinese painters who were familiar with Western modernism to find points of intersection between ink painting and Abstract Expressionism.{Read More…}

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Chen Shen Ping / Green River Flowing Through the Mountains / 15″ x 19″  [21" x 25" with silk brocade mat] 39 cm x 48 cm  [55 cm x 64 cm with silk brocade mat] / chinesepaintings.com

I’m intrigued by his use of colour and how the drawing sets up the structure that holds the loose colour in the composition. I definitely see the influence of Zhang Daqian At this point, I think the tightness of the drawn elements competes for attention with the loose colour elements. It sets up a strong contrast, which may be the point, a sort of restrained exuberance. Personally I’d like to see it pushed further, with the tight elements much more deconstructed as well as on a much larger scale. I think the danger is that it can become formulaic very quickly, I want to know what happens next.

Zhang Daqian / Peach Blossom Spring / 1983 / hanging scroll, ink and color on paper / 209.1 x 92.4 cm / Cemac Ltd.

Chang Dai-chien continued to develop his remarkable range of techniques after he left China in 1949. One particularly important breakthrough was his development, in the 1960s, of a bold technique of splashing ink and color on his paper. Although the results might seem to resemble action painting, Chang maintained throughout his life that his technique was Chinese, having been described in Tang dynasty texts on painting. He did not, thus, use the splashed ink technique in a purely abstract manner, but only to suggest real or imaginary landscapes. In this superb painting of his final years, his blue-and-green pigment is used to suggest a mythical paradise, the Peach Blossom Spring, where human discord was unknown. Although he never returned to mainland China, his work was admired and emulated by younger artists who came to know it after the Cultural Revolution. {Read More…}

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Here’s a large format watercolour I just finished last week.

Gordon Fraser / untitled / 2008 / watercolour, pastel, guache on paper / 44 x 30 inches (2 Panels) / gordonfraserfinearts.com

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Michael Sanzone / Scottish Landscapes / 532 Gallery Thomas Jaeckel

Wood is the chosen medium, specifically the natural occurrences that time has on the material and how it cannot be duplicated through artifice. The passage of time is represented through the mosaic-like constructions, with each piece of wood quietly disclosing his story in each ring, chip, and flaw. Sanzone increasingly explores the history of his materials, and in turn his surroundings. ‘I find it important in my new work to collect materials/wood from specific locations, to get to know those locations and the history of the wood that now lies in the finished piece of artwork.’

The works included in Scottish Landscape were constructed during his time spent as an Artist in Residency at the Glenfiddich Distillery. Inspired by the journey of wood used to make the casks, some over fifty years old, Sanzone became increasingly fascinated by the subsistence of each piece. The barrels were built from Spanish or American oak, transported to Scotland, and then filled, tagged, coded, tended to, used, thrown away, found and finally resurrected. These wood constructions not only convey the narrative of this journey, but also act as Sanzone’s memento of a time and place. The distinct colors and shapes of each piece, united with the damp scent of whisky soaked wood embedded with splinters and raised nails, lends to a sensory experience that is the Scottish Landscape from the artist’s viewpoint.

In addition to the wood constructions, there are a series of wood pieces simply referred to as Collaborations.  In a manifestation of ‘the exquisite corpse,’ Sanzone and fellow New York- based artist, M.P. Landis, exchanged these pieces via mail from Scotland to Brooklyn while manipulating the wood with drawings, stamps, words, and various media.  According to the rules established by both artists, each piece had to have traveled back and forth at least four times to be considered complete.  The battered and beautiful pieces reveal this journey, transformed from a blank canvas of wood to an illustrated dialogue between remote locations. {Read More…}

Michael Sanzone @ 532 Gallery Thomas Jaeckel 532 West 25th Street through 11/25

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 Annabel Emson / After Dark / oil on canvas / 2008 / 214 x 244 cm / Wyer Gallery

 Teetering on the edge of abstraction and representation, Emson’s paintings reflect the patterns that arise naturally in the structure of the world around us. However, despite drawing inspiration from both the natural and manmade environment, she does not depict recognizable landscapes in existence somewhere but, working intuitively and spontaneously from memory, alludes to some less tangible or fleeting place or space, rooted in memory perhaps but which has become something other, independent, self-determining and lawless.

Her paintings seem to reflect a joy taken in the physicality of painting as well as paint’s material possibilities. She plays with juxtaposition of colour, its temperature, intensity and emotional pitch; the manner and form of the application of paint and the part played by rhythm and sound, both in the process of painting itself and the form and structure of visual composition. This experimentation with the language and application of paint has lead to an ostensibly disparate note in a collection of canvases that differ in scale and style and where abstract works containing broad, energetic or gestural brushwork sit alongside others in which more considered figurative ideas have worked their way in alongside layers of abstraction to suggest a narrative or something more descriptive.

However diverse at times, the works are linked to each other by an index of recurring motifs and images, referencing and building upon each other as part of an extended conversation. Reduced to their core, these are paintings about their process and each work a consequence of a new question that is understood most fully in its relation to its counterparts.{Read More…}

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Judith Godwin Early Abstractions
September 3, 2008 – January 4, 2009, Tobin Theatre Arts Gallery, Brown Gallery, www.mcnayart.org

The earliest paintings in the show resemble cell structures, with graphic black lines defining the interlocking forms within a matrix of colors that seem to refer to cubism. Another early work, “Nucleus IV,” contains references to the nude figure. “Male Study” and “Woman” are more complex arrangements that resemble early de Kooning. But more neutral space became a key part of her style when she began to experiment with pours and stains, such as “Ode to Kenzo,” which introduces an element of Asian minimalism.

Gradually, her style becomes looser, more painterly and more dramatic. “Purple Mountain” has a peak punching through the top of the picture plane, with the landscape defined by broad, dark brushstrokes. “Night” and “Blue Storm” use dark blues and blacks with accents of gold and brown to suggest the fierce energy of nature. “Black Cross” features a soaring black cross with a broken arm.

A few of the strongest works deal more with psychological states, such as “Longing.” More horizontal paintings with dramatic dark blotches against a white background such as “Into the Depth” and “Maze” seem to be maps of the artist’s subconscious, with dark, violent emotions pushing and pulling against a curtain of light. In these later paintings, Godwin pared down color and emphasized dramatic brush marks.

However, as Sims explains in his essay, while Godwin’s early work seemed to avoid anything that can be described as feminine, her more recent work has more womanly touches — introducing collage elements, such as black sequins and ribbons set into the pigments, and using rounder, more organic shapes. She also uses lighter colors. {Read More…}

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I just got to see an excellent small exhibit right now at Tina Kim Gallery juxteposing 2 paintings each of De Kooning, Mitchell, and Richter from the 1980s. There are a couple of things I find interesting about comparing the work of these three artists. First, we see three distinct possibilities for abstraction – abstracting the figure (De Kooning); abstracting landscape (Mitchell); invented or created realities (Richter). Second, we see the development of three distinct treatments of pictorial space. De Kooning’s space is shallow, hovering right at the picture plane, built up with overlapping shapes and the interplay of positive and negative space. Mitchell’s space is voluminous, built up with broken strokes of color on color, and swelling out of the picture plane. Richter creates a deep atmospheric space through the relation of differing paint applications, color, and surface texture.

Despite their differences in gender, nationality and age, each worked solitarily throughout this era that was dominated largely by bombastic new voices, quietly producing what are still regarded as some of the most virtuosic works in their respective oeuvres. Though all of the works in this exhibition can be categorized under the same general rubric of “abstract painting”, each artist approached the canvas from a unique perspective. This juxtaposition of these six large-scale works provokes questions of process, intent and composition that are among the most fundamental to the genre of painting.

Willem de Kooning (1904-1997) / Untitled XII / 1985 / Oil on canvas / 79 9/10 x 70 1/10 inches, 203 x 178 cm / tinakimgallery.com

Joan Mitchell (1925-1992) / Grande Vallée II (Amaryllis) / 1983 / Oil on canvas / 86 x 75 1/2 inches, 218.4 x 191.8 cm / tinakimgallery.com

Gerhard Richter / Georg / 1981 / Oil on canvas / 78 3/4 x 78 3/4 inches, 200 x 200 cm / tinakimgallery.com

De Kooning, Mitchell, Richter @ Tina Kim Gallery, 545 West 25th Street, 3rd Floor through 11/15

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Merrill Wagner / Large Flower Small Owl / 2006 / Paint on steel / 87.75 x 82.25″ / sundharamtagore.com

I checked out this show this past week. I wasn’t familiar with Merrill Wagner’s work, but I loved how she painted with the steel. It’s interesting, Richard Serra’s work makes you really feel the presence and the weight of the steel, whereas with Merrill’s work I found myself enchanted with the surface, the rust, the marks left by the heat of forging, etc. There was a delicacy and lightness about the steel.

Wagner’s oeuvre explores the possibility of steel and slate as a painterly surface. Wagner begins with found materials, either die-cut scraps of steel, or pieces of slate, and transforms them into abstract landscapes or flowers. She imbues the surface with an unexpected softness yet still maintains an architectural form. Painted directly from nature, her forms allude less overtly to geometry than to a structural topography. Her assemblages are suspended by magnets giving them a floating quality. Her innovative utilization of the dichotomy between the softness of the pigments and her subject and the rigidity of her surface has earned her the acclaim of the art world.

Merrill Wagner @ Sundharam Tagore, 547 West 27th Street, through 10/15

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Cecily Brown / Untitled (#38) / 2007 / Oil on linen / 12-1/2 x 17 inches (31.8 x 43.2 cm) / www.gagosian.com

A number of people have been asking lately why I haven’t posted anything recently. The answer is that I have been meaning to, but I’ve just been super busy and the blog has gotten the short end. Anyway….

I’ve been down to Gagosian a few times over the last couple of weeks to see the Cecily Brown show. The first time I went I was impressed with the work but something bothered me and I couldn’t figure out what it was. After going back and spending a good amount of time looking at the work and being in the space I realized the problem, the lighting in the gallery kills the drama of the paintings. It is just too bright in the gallery to really enter into the paintings. The drama of her paintings is in the swelling volumes and the internal character of the light she creates. The bright lighting of the gallery illuminates the dark areas, renders visible all the brush strokes, and the reflected light off the white walls of the gallery overwhelms the light areas of the canvas. The overall effect is to flatten the canvas into a collage of energetic brushstrokes with color.

This actually struck me when I was looking at some of the smaller canvases in the show. Looking at these works I could really see the connection to Rubens, Tintoretto, El Greco, both in the compositional structure and the swelling weightless forms hovering and suspended in space. I also began thinking about how those paintings were painted for candlelit cathedrals and castles. How the dim lighting of the space really elevated the drama of the darks and lights, allowing the swelling figures to really explode out of the canvas. When I turned around to look at the larger works in the show, especially the Sam Mere series, I really felt like I was missing something.

I’ve often read Cecily Brown’s work compared to De Kooning’s, and while they both engage in figurative abstraction, I think it will be interesting to examine their approaches over the next few days to see how differently they put paintings together. In the meantime, definitely check out the show.

Cecily Brown @ Gagosian, September 20 – October 25, 2008, 555 West 24th Street

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