James Kalm visits the exhibition Xstraction at The Hole, New York. The exhibition features work by 32 contemporary abstract painters.
The press release states that the show examines trends in "textile-based and 'craftstraction'", paintings influenced by "digital aesthetics," "trodden-upon, dirtied, worn out or even 'entropic' abstraction," and "un-painterly abstraction" in the works of a younger generation of painters.
Kalm's video walkthrough looks at "commonalities and techniques employed by this generation of artists. Includes views of works by: Adam Henry, Andrew Sutherland, Angel Otero, Anoka Faruqee, Chris Johanson, Cory Arcangel, Gerhard Richter, Kadar Brock, Mark Flood, Sam Moyer, Thomas Øvilsen, Trudy Benson, Wade Guyton, Wendy White, Xylor Jane."
Thomas Micchelli reviews Xstraction at The Hole, New York. The exhibition features work by 32 contemporary abstract painters.
Michelli writes that "there are only a few paintings here that are startling in their originality, but despite their sheen of newness, their relationship to antecedents is very much in evidence. This is not a criticism; to the contrary, it’s a major factor in the richness of their aura (a word I use advisedly). The rest of the works in the show appear to be earnestly made, but their conversion of past practices (abjection and process are especially pervasive) for the here and now do not register as particularly imperative."
Lane Relyea considers trends in contemporary painting in relation to "the talent economy."
Relyea addresses the tendency in painting towards "steady, routinized, repetitive labor and use of personal-scale, low-budget materials, and ... [an] overall sense of precariousness and impermanence." He argues that "it may be that what most recommends this kind of painting to a place of centrality in our D.I.Y. age is its superior associations with the studio, that artisanal site of making and doing, rather than in the power of painting to induce certain modes of reception like immersion or opticality or semiotic critique. This is especially true of such conspicuously made or crafted paintings, paintings worked on by a single pair of hands, with a plasticity both hard and yet malleable enough to withstand being heavily manipulated while still yielding form. Furthermore, what so enables such work to convey pure doing, to straddle both D.I.Y. and anonymity, to suggest an artisanal performing of subjectivity albeit in an impersonal mode, is precisely that they are paintings, rather than belonging to some other category of art. That is, rather than a special preserve of unique individuality, here painting stands as close as one can get to just doing stuff, purely making things. As Barry Schwabsky writes in the introduction to the recent Phaidon catalog Vitamin P2, 'The ordinariness of painting has become one of its most important characteristics. Painting is so familiar, so well-known that it’s become the default mode of art-making. The ordinary art made by the ordinary artist is likely to be painting.' "