There is a bearing of abstruse artists built-in in the mid-1940s that the art apple has yet to accord their able due. I doubtable that one acumen for this is because these artists aboriginal acquired absorption in the mid-1970s, during the decade back painting was asleep and aloof afore its alleged acknowledgment with the activity generated by the Neo-Expressionists. It seems they did not get the buzzer announcement painting’s afterlife or, accepting gotten it, absitively that the critics and historians were wrong.
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Figuring out how to move advanced in the deathwatch of Minimalism and Blush Field painting, and afore the acceleration of Neo-Expressionism and Neo-Geo, the abstruse artists that I am cerebration about were never associated with a appearance or a movement; they were not branded and they assume to fit into none of the commonplace narratives. I anticipate that is a acceptable thing, but I assume to be in the minority.
Melissa Meyer is allotment of this generation. I aboriginal advised her assignment in 2009, anon afterwards she confused abroad from the awe-inspiring brushstrokes and pond shapes, generally in carefully accompanying hues, that were appropriate of her paintings of abundant of the 1990s. Meyer’s reinvention during this decade came from centralized burden rather than the alien burden of analytical or bazaar forces: she has consistently gone her own way.
Starting in the backward 1990s, Meyer activate means to disengage what she acquainted ability accept started to become habits. She began to assignment in watercolor. She challenged herself with a change of calibration back she was commissioned to accomplish two large, accessible murals, whose admeasurement far exceeded annihilation she had done before. And she began application Photoshop as an aid, mostly to advice her with her commissions. The best accessible aftereffect of these changes and challenges is that she began abrasion her oil paint.
In her accepted exhibition, Melissa Meyer: New Paintings, at Lennon, Weinberg, Inc (November 1–December 22, 2018), she has pushed added into a area she began staking out about the alpha of this century.
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The exhibition consists of 13 paintings — abounding of them diptychs. There are two pairs of paintings, the diptychs, “Trellis Too” and “Garden in Cassis” (both 2017) and the vertical rectangles, “Summer in the City I” and “Summer in the City II” (both 2018), that I appetite to alarm absorption to.
In the diptychs, I calculation at atomic three layers of marks that the artisan has aeroembolism together. The aboriginal band is a check of colors (durian yellow, cantaloupe orange, and adulterated blue) that makes up the ground. There is no apparent arrangement to the patches, and in some places she has larboard the gessoed arena white, unpainted.
The additional band consists of abnormally colored, glyph-like brushstrokes, anniversary acutely fabricated in one shot. The besom can be dry, authoritative cutting lines, or it can be full. Again, I ascertain no arrangement to her choices. The sizes of the glyphs vary. The blush can be abundantly saturated or achromatic and watery. Here and there, allotment of one glyph ability accelerate over another.
The final affair she does is draw a black, geometric web of angled curve of appealing abundant the aforementioned width, overlaying and captivation calm the aboriginal two layers. The action is incremental, alveolate Jackson Pollock’s caked paintings, but with actual altered results.
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One of the things that happened in the about-face from Pollock to Helen Frankenthaler — an aboriginal afflatus for Meyer — was that abundant absorption was paid to address and process. Pollock was apparent as afire the aisle for stain painting. Cartoon in acrylic was denigrated and agreement got pushed aside. Meyer has consistently been committed to both possibilities, which is why abounding critics articulation her to Abstruse Expressionism and agreeable abstraction. And yet, I would altercate that her articulation to Abstruse Expressionism arises out of her reconsideration of assorted assumptions and commonplace views. She is no addict and to advance that she is misconstrues the alive and absorbing chat that she is accepting with her predecessors.
More importantly, “Trellis Too” and “Garden in Cassis” accord you a lot to attending at. The beheld antagonism is jarring. You feel that anniversary band is clamoring for attention. There are the colors peeking through the two layers of drawing. There are glyphs jostling anniversary other. The atramentous band stitches the two layers together, but does not abolish their beheld energy. I like the way the painting encourages my absorption to alluvion beyond the apparent as able-bodied as amid the layers. Despite all the audible glyphs and apparent layers, there is no focal point. You blow your absorption at your own risk. Despite the painting’s affable title, there is article jarring, alike distressing, about “Garden in Cassis.”
This is what feels altered about Meyer’s accepted work. In the two paintings blue-blooded “Summer in the City,” Meyer lays bottomward a check arena of anemic chicken and blooming glyphs, forth with aberrant fair areas, afresh abrogation areas unpainted. This access seems haphazard, rather than methodical, which challenges the abstraction that a painting should back order.
Meyer overlays this asperous arena with rows of deeply packed, accessible glyphs fabricated with brushes of altered widths. She generally draws one linear, glyph-like anatomy over another, afresh afterward no pattern. The glyphs tend to be rectangular, with some accumbent angular and others vertically. She ability accomplish one that is abundant like the one adjoining to it, except in a altered blush and with a thicker or thinner line.
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If Pollock is apparent as arch to all-over painting, Meyer has angry that achievability on its head. The paintings in her accepted exhibition absorb analysis and accord after benign either. They apathetic bottomward looking, as your absorption moves beyond the apparent and you activate acute similarities, changes, and ruptures. Authoritative anniversary glyph in a altered blush adds to the beheld dissonance. “Summer in the City I” ability be apprehend as a grid, but one in which anniversary bore pulls abroad from the others, alike as it demands to be apparent individually.
I anticipate these are Meyer’s best burghal paintings. The applique glyphs reminded me of graffiti and tagging after anytime absolutely bridge into that territory. They appear as beyond as airy, strong, and solid. And yet, I additionally ascertain Meyer’s activity to the anarchy cat-and-mouse to breach through – abrupt and approaching – in our circadian life. That acquaintance of how fragile, solid, and airy it all is fills these paintings with rivers of feeling.
Melissa Meyer: New Paintings continues at Lennon, Weinberg, Inc. (514 West 25th Street, Chelsea, Manhattan) through December 22.
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