Thomas Berding: Discard Parade, at the Painting Center in NYC, April 28-May 23, 2015. Here’s an extended quote from the catalog essay by artist John Kissick, I really wish I read more writing about art that looked like this. “And then there is color. Or perhaps better, there are a variety of colors, each playing off each other in a variety of collisions and embraces; optical tangos if you will. And then there is white,” Kissick writes, continuing, “That is why Berding’s unabashed use of flat white in his paintings, sitting either on top of his color like snow on a field, or underneath like a tabula rasa for the whole world, is such a provocative and critically interesting development. White interrupts; white obliterates; white masks. White is the painter’s ‘white-out’, a blatant and at times wonderfully obnoxious marker of editing and erasure, assertion and distraction. It both confuses and frustrates our natural or ‘honest’ emotional reaction to the colors around it. Most of all, it is a vital signifier of imposition and authority on the part of the artist.”
Berding himself can make a great case for the adventure of painting these days. Here’s a link to our great 2013 interview with Berding.