{"id":1759,"date":"2010-06-02T19:18:45","date_gmt":"2010-06-03T02:18:45","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2010\/06\/andrew_dadson_-_paint_on_the_v\/"},"modified":"2010-06-02T19:18:45","modified_gmt":"2010-06-03T02:18:45","slug":"andrew_dadson_-_paint_on_the_v","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2010\/06\/andrew_dadson_-_paint_on_the_v.html","title":{"rendered":"Andrew Dadson &#8211; rot faster"},"content":{"rendered":"<p>If painting is what John Russell called a &#8220;vegetable construct that changes in time,&#8221; there&#8217;s no reason a painter can&#8217;t accelerate the progress. Before <i>Plank Lean Painting<\/i> left <a href=\"http:\/\/theapt.ca\/events\/andrew-dadson\">Andrew Dadson<\/a>&#8216;s studio in Vancouver B.C., he retracted it.<br \/><i><br \/>\nAndrew Dadson<\/i> <i>Plank Lean Painting #2, 2010.<br \/>\nOil on canvas.<br \/>\n60 x 60 x 10 inches <\/i><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"andrewdadsonblck.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/andrewdadsonblck.jpg\" class=\"mt-image-center\" style=\"text-align: center; display: block; margin: 0pt auto 20px;\" height=\"527\" width=\"400\" \/><i>Plank Lean Painting<\/i>, detail<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"andrewdadblckdetl.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/andrewdadblckdetl.jpg\" class=\"mt-image-center\" style=\"text-align: center; display: block; margin: 0pt auto 20px;\" height=\"410\" width=\"400\" \/>What symphonies of old-time push and pull are buried underneath the black? Leftover colors gather at the painting&#8217;s edge like clues at a crime scene. And this is the truth about painting. Dadson&#8217;s attempt to kill it gave it license to rise again in another form, from bloom to blight, channeling Rothko.<\/p>\n<p><i>Voter&#8217;s Ink, 2008<br \/>\nIraqi voter ink on canvas<br \/>\nframed with UV Plex<br \/>\n42 x 32 inches (reversible vertically) <\/i><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"andrewdatsoniraqink.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/andrewdatsoniraqink.jpg\" class=\"mt-image-center\" style=\"text-align: center; display: block; margin: 0pt auto 20px;\" height=\"498\" width=\"287\" \/>Making a painting from Iraqi voter ink embraces accelerated change.&nbsp; The piece will continue to develop in the light, losing purple and gaining gold, its specifics lost in an atmosphere over which the artist has no control. For someone who is not primarily a painter, his contributions to a medium that only momentarily has his attention are extraordinary. <\/p>\n<p>Through June 26 at <a href=\"http:\/\/www.lawrimoreproject.com\/lp\/Andrew_Dadson.html\">Lawrimore Project<\/a>. Jessica Powers on Dadson <a href=\"http:\/\/www.artslant.com\/ew\/articles\/show\/16769\">here<\/a>.<\/p>\n<div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>If painting is what John Russell called a &#8220;vegetable construct that changes in time,&#8221; there&#8217;s no reason a painter can&#8217;t accelerate the progress. Before Plank Lean Painting left Andrew Dadson&#8216;s studio in Vancouver B.C., he retracted it. Andrew Dadson Plank Lean Painting #2, 2010. Oil on canvas. 60 x 60 x 10 inches Plank Lean [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1759","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1759","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/comments?post=1759"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1759\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=1759"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=1759"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=1759"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}