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Painters' Table: Top 10 Best Posts, September 2011

Posted: 10/16/11 11:32 PM ET

Painting dominated the art scene in September, anchored by MoMA's Willem de Kooning retrospective exhibition. As Art in America editor Lindsay Pollock noted in the September edition, the show "rallied our attention to painting." Indeed, de Kooning's work has never before been seen in such depth. The retrospective, which closes January 9, 2012, is a must-see.

Don't stop at de Kooning; go straight to Chelsea and discover a lesser-known Abstract Expressionist master, Milton Resnick. A contemporary of de Kooning, Resnick's paintings on view at Cheim & Read (through October 29th) are moving, immersive abstractions. A must-read this month is painter David Reed's remembrance of Resnick as a teacher.

As singular and transporting as the de Kooning and Resnick exhibitions are (and you really should try to see them back-to-back), superior painting exhibitions were everywhere in New York last month, from Agnes Martin and Frederick Hammersley in Chelsea to Loren Munk and Carrie Moyer on the Lower East Side. Great shows opened abroad too, such as John Martin at the Tate Britain and Rothko in Britain at the Whitechapel Art Gallery to name only two.

Given the abundance of great exhibitions it's not surprising that there were plenty of excellent painting posts in September. Ten fantastic posts are below, and you can find more daily at Painters' Table, the magazine of the painting blogosphere.

Nathan Oliveira's Final Visions
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Nathan Oliveira Applying a wash, late 2010 (Photo Credits: Works of art © The Estate of Nathan Oliveira, Other Photos courtesy of Joe Oliveira)

John Seed writes about Nathan Oliveira's last works which will be on view at John Berggruen Gallery, San Francisco from September 8 - October 22, 2011.


Seed notes: "In the last year and half of Oliveira's life, there were wonderful developments in the studio. 'The old Nathan came back,' says Joe Oliveira, 'the guy who wanted to be in the studio every day. He couldn't wait to get back in there; something new and beautiful was happening.' Starting with rich, abstract washes of color, Oliveira was again inspired to conjure up haunting, solitary figures."


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