Intervening in the Picture Plane

Rebecca Morris "Untitled (#01-10)," 2010 oil and spray paint on canvas 84 x 72 inches. Image from Anaba blog.

Rebecca Morris "Untitled (#01-10)," 2010 oil and spray paint on canvas 84 x 72 inches. Image from Anaba blog.

Olivia Booth, "Because the Night...," 2010 glass, paint, string, nail, 24"x 22" approx.

Olivia Booth, "Because the Night...," 2010 glass, paint, string, nail, 24"x 22" approx.

Olivia Booth, “13 Steps to Opening Up Shop”, 2010, MKE to LAX (curated by Sara Daleiden), Woodbury Hollywood Exhibitions, LA

Olivia Booth, “13 Steps to Opening Up Shop”, 2010, MKE to LAX (curated by Sara Daleiden), Woodbury Hollywood Exhibitions, LA

Sarah Cain, "Midnight Mission," California Biennial at 533, 2009

Sarah Cain, "Midnight Mission," California Biennial at 533, 2009

Kim Fisher, "Lunar Eclipse," 2009 Oil on linen 72 x 63 inches. Image from Fourteen30 in Portland.

Kim Fisher, "Lunar Eclipse," 2009 Oil on linen 72 x 63 inches. Image from Fourteen30 in Portland.

Corrina Peipon and Jill Spector "Friends and Relations" quilt 30 x 22 inches, from the recent LACE Auction.

Corrina Peipon and Jill Spector "Friends and Relations" quilt 30 x 22 inches, from the recent LACE Auction.

Talks on Painting: Intervening in the Picture Plane

Sunday, May 29 7pm

Mandrake Bar
2692 South La Cienega Boulevard
Los Angeles, CA 90034

In this panel discussion with Olivia Booth, Sarah Cain, Kim Fisher, and Rebecca Morris, moderator Corrina Peipon
will lead a discussion on abstraction with a focus on the material and formal aspects of painting as subject matter.
To varying degrees, the four painters included here make interventions into the picture plane in order to explore the
tangible matter of painting, favoring physicality over illusion.

A note from Corrina Peipon on Sunday’s talk:

This panel discussion is the first of three discussions about painting that are being organized by Mari Eastman, Rebecca Morris, and Jill Newman. Mari invited me to moderate one of them, and then Rebecca and I started talking about contemporary trends in abstraction as a potential topic, and I chose the artists.

In the past few years, I’ve been particularly attracted to abstraction that involves deep attention to the basic materials of painting, engaging in a kind of deconstruction. It’s a different kind than that of the 1960s-1970s (or maybe 1950s-1970s); it is not about taking painting apart, and there is not any hostility toward the medium in this new deconstruction. Rather, the painters making what I am calling “interventions in the picture plane” do so out of a deeply sensual connection to the materials of painting. By materials, I mean everything from the actual paint and canvas to composition and art history. In this way, painting almost becomes the subject of the painting.

Friends out in the city reading and looking – I won’t be able to attend this discussion. I’ll be happily in the Midwest, visiting people I love. I can think of a bunch of questions I’d like to ask – good lord with such a power-packed panel I bet you can, too!

Go to Mandrake on Sunday, have a drink or two if you require emboldening, then ask questions.

Um, don’t get out of hand. Play nice.

(I enjoy the inadvertent poetry of uploading text from a pdf source. Some oddity of formatting gave the brief description above that nice shape.)

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