Meyer has turned Pollock’s all-over painting on its head.
Quicktime takes its cue from Raphael Rubinstein’s “Provisional Painting,” published in the May 2009 issue of Art in America. In the essay, Rubinstein discusses a handful of artists who seem to “turn away from ‘strong’ painting” in favor of works “that look casual, dashed-off, tentative, unfinished or self-cancelling.”
Since 2001, Melissa Meyer has continued to reinvent herself without severing her connections to Abstract Expressionism or, more particularly, the brushstroke and drawing in paint.
Esopus 22: Medicine feels like a giant patient file for the cross between the medical and visual arts.
Over the past decade, Melissa Meyer, rightfully characterized by David Cohen “as virtually without a peer as a lyrical abstractionist,” moved from the lyrical to the disjunctive.