In a recent New York Mag review about Mark Grotjahn‘s show at Anton Kern, Jerry Saltz admired the paintings for what they are not. “Unlike much art of the past decade, Grotjahn isn’t simply working from a prescribed checklist of academically acceptable, curator-approved isms and twists. His palette isn’t only the voguish trio black, white, and silver….” When I first read the review, I was helping another artist come up with some ideas for silver-themed projects, and I, too, had recently cracked open a can of silver Krylon for some new paintings on raw linen.
Who hasn’t been tempted to grab a can and instantly turn everything metallic? Who hasn’t wanted to unwind a roll of silver duct tape and just cover stuff with it? Who hasn’t been drawn to metal chain for all the symbolism it embodies? When Peter Schjeldahl noted that “silver is everywhere and nowhere” in Pollock’s revolutionary drip paintings, he fastened on to the color’s magical versatility.
In “We Regret To Inform You There is Currently No Space Or Place For Abstract Painting,” a delightful group show at Martos Gallery on display through June 18, several of the artists also understand how compelling metallic can be.
“We Regret To Inform You There Is Currently No Space Or Place For Abstract Painting,” Martos Gallery, New York, NY. Through June 18, 2011. Artists include Jules de Balincourt, Lisa Beck, Sarah Crowner, Wayne Gonzales, Tony Just, Alex Kwartler, Jim Lambie, David Malek, Chris Martin, John Miller, Curtis Mitchell, Olivier Mosset, Nathaniel Robinson, Eva Rothschild, Ben Schumacher, Anja Schwörer, Davina Semo, Lincoln Tobier, Daniel Turner, Nick Van Zanten, Clare Woods
Two Coats of Paint is licensed under a Creative Commons Attribution – Noncommercial-No Derivative Works 3.0 United States License. To use content beyond the scope of this license, permission is required.