Filed under: Other Voices | Tags: Michael Klein, Other Voices, Squeak Carnwath
Squeak Carnwath mixes familiar and recognizable images-think New Image painting- within a smart, sharp fields of patterns built of numbers and colors then overlaid with words. Carnwath’s fields look conceptual; they are methodical in structure like an algebraic formula on a blackboard but then suffused with thoughts that stand out-a translation of her internal dialogue out loud onto the canvas for all to see. Like Mel Bochner’s recent language paintings and prints, or Joseph Kosuth’s room size neon sculpture, Carnwath has been using words for many decades. The broken phrases or private messages convey feelings, emotions, directions, observations and in one instance the outraged reply to her mate’s mumbling words while he slept: MY NAME’S NOT TINA she cried back. Hence a painting of the same name, loud, riotous lettering making it clear that there aint no Tina here. No she is not Tina and not anyone but Squeak a tough, thoroughly educated and aware former UC Berkeley teacher and full time artist who has built a forty year career yet without the kind of flamboyance and fan fare of other California painters such as her peers Ed Ruscha and his nomenclature of the everyday or Wayne Thiebaud and his personal diner aesthetic. Why one may ask? We no longer think of either Ruscha or Thiebaud as California painters. They are renowned across the US and abroad as well with exhibitions at galleries and museums nearly everywhere. For Carnwath such recognition is on the horizon; she is being discovered by a new generation that sees in her work a worldly and wise freedom. Carnwath is the interpreter of the present. Like Ruscha and Thiebaud she borrows from the everyday but she does not stop there; she wants us to think about this everyday. And as another painting shouts out at us WAITING FOR A MIRACLE, 1992 - Read more by Michael Klein, NAP Contributor, after the jump.
Squeak Carnwath | Identity, 1990, oil and alkyd on canvas, 82 x 82 inches, Photo Courtesy Squeak Carnwath
Squeak Carnwath | Miracle, 1992, oil and alkyd on canvas, 82 x 82 inches, Photo Courtesy Squeak Carnwath
Filed under: Other Voices | Tags: Michael Klein, Other Voices, Robert Baribeau
In the countryside north of NYC Robert Baribeau has been feverishly at work on a thirty-year exploration of the impact of landscape and place on abstraction. He is the measure of what he purveys and so his canvases and paintings on paper are simple declarations or essays on the way in which all aspects of nature can be construed through color, form and texture. While for some painters nature is translated in terms of representation or naturalism, Baribeau measures landscape through the dynamics of color and texture.
Robert Baribeau | Field Series, Untiled 466, 2003, mixed media on paper mounted on canvas, 51 1/2 x 73 inches
Courtesy Allan Stone Gallery, New York
Of course Baribeau’s landscapes are seen through the temperament and eye of a home grown abstract painter, someone whose roots are among the mystical painters of the Northwest of the 50s-he is from Aberdeen WA after all and the later stages of the New York School of the 60s. His paintings are a synthesis of sources perhaps influenced by the early Ab Ex works of Grace Hartigan, who also recorded the impression of places through striking colors on large canvases or the later abstract distillations of Joan Mitchell whose eye and palette were attuned to her years in France and working near Monet’s garden in Giverny.
Transplanted to the lower Hudson River Valley he is certainly not revitalizing the 19th century school of painting but though recognizing the sublime power inherent in nature and therefore finding pictorial equivalents of color and sign to match its wonder and chaos. - Read more by Michael Klein, NAP Contributor, after the jump.