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Interview with Paul Benke, from Painters’ Table

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One to savor from Painters’ Table

http://tinyurl.com/mcyjezm

Interview with Paul Benke, “The Ability of Paint,”

Eight Painters, organized by Paul Behnke is on view at Kathryn Markel Fine Arts, New York from January 4, 2014 – February 1, 2014. The show features paintings by Karen BaumeisterPaul BehnkeKarl Bielik,James EriksonMatthew Neil GehringDale McNeilBrooke Moyse, and Julie Torres.

Paul Behnke’s curatorial criteria for the show Eight Painters are compellingly straightforward: “an individual, rigorous vision; a certain ambition without regard for scale or a specific way of making a painting; and an abiding belief in the ability of paint – and specifically, the genre of abstraction – to best communicate the artist’s appetite and inventiveness.”

In other words, the show features painters deeply engaged with the medium of paint. It’s a powerfully simple premise. Eschwing trends and labels, the tools of the art market, Behnke puts the focus where it should be – on the paintings themselves. He generously agreed to discuss the show with Painters’ Table. – Brett Baker

Painters’ Table (PT): Your decision not to organize the show around a visual “theme” is uncommon these days – even somewhat radical. Can you expand a bit on how you came to believe that the commitment of each artist to the internal language of their work was the most worthy organizing principle?

Paul Benke (PB): I think as a painter I’ve always felt this.

Recently, the predominant way that paintings have been presented and viewed has been in the context of a curatorial theme. The more in depth statement of the one person exhibit is being pushed aside in favor of a “hook” that I think art spaces feel they need to draw in viewers. These curatorial themes start to seem necessary to make painting feel relevant. To submit a body of work to almost any art space’s open call you must have a “project”, a hook, and it’s even better if your idea involves some sort of play on Relational Esthetics or is community based. All of these approaches have their place but this type of exhibition has become prevalent at the expense of a deeper, more encompassing experience of the painter’s work.

Good painting is as varied and multi-layered as the person who made it. Thoughts, memories, visual associations – the sum of a painter’s daily life – personality and experiences feed into a work. And that’s just the conceptual content. To say nothing of the subtleties or boldness of a paintings formal qualities and the staggering number of decisions that go into realizing a piece. To reduce all of that to a fragment of its intent runs the risk of doing the medium and painter a disservice, especially if the viewer is easily swayed or lazy.

I did what I could to negate this approach in Eight Painters. I intentionally kept the number of exhibiting artists under ten and asked for one piece or a concise grouping of work from each. I wanted something closer in feel to a museum display rather than an over-hung, chaotic presentation. Within those parameters I felt I had the best chance of giving the work, the painter and the viewer the kind of experience they deserved.

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February 2, 2014 at 8:10 pm

Review: Richard Diebenkorn: The Berkeley Years, from Huffington Post

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August 10, 2013 at 7:28 pm

Artist Interview

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http://www.huffingtonpost.com/john-seed/john-zurier_b_3652376.html?utm_hp_ref=painting

This interview addressed issues that have been resting under my skin for many years. Not only do I respond to John Zurier’s work, but I also appreciate the relationship of his work to Japanese culture and aesthetics. I have been on a mission to create my own authentic work, whatever that is and even though I can’t see it or know it ahead of time.

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August 10, 2013 at 7:23 pm

My First International Exhibition, by invitation of E.M.Galerie, Netherlands

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Please contact for more information:  http://www.emgalerie.nl/nl/news/show/2/83

All are acrylic and collage on paper, approximately 16×16 or 11×14.em_02em_01em_03 em_04

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July 4, 2013 at 6:21 pm

New Work on ArtWork100

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New work posted to http://www.artwork100.com.   © 2013 Diana Jahns.

© 2013 Diana Jahns. Collage acrylic on paper, matted ready to frame on ArtWork100.com

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March 14, 2013 at 1:45 am

New Work in the Studio

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New work in the studio, acrylic on paper.   © 2013 Diana Jahns.2013-03-02_01-2

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March 14, 2013 at 1:40 am

Devening Projects, Chicago Illinois

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March 10, 2013 at 4:35 pm