tag:blogger.com,1999:blog-50083933944590434742024-03-23T07:13:16.530-04:00 Tamar Zinn Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.comBlogger37125tag:blogger.com,1999:blog-5008393394459043474.post-42604746371681862212022-09-14T21:55:00.002-04:002022-09-14T23:02:01.957-04:00GETTING UNSTUCK / Finding my way back to painting<p><span style="color: #0b5394; font-family: verdana;"><b>We have all been here.</b></span></p><p><span style="font-family: verdana;"><b><span style="color: #0b5394;">If you have put in a serious chunk of years in a creative pursuit, at some point you have experienced being stuck.</span></b> Whether you are a writer, visual artist, composer, choreographer, or scientist -- whatever the field -- if it is solely up to you to identify your direction and summon the motivation to work towards it, at some point you have wallowed in the state of stuckness. And in all likelihood you've experienced it more than once.</span></p><p><span style="font-family: verdana;">Since struggle and confusion are often present in the creative process and nourish the evolution of the work, what is it that separates being stuck from the typical uncertainties we face? Why is it so emotionally demoralizing and physically debilitating? For me, the somewhat routine experiences of uncertainty and struggle in the studio are signs of active engagement in the process of making. However, being stuck marks a complete retreat from the process of making, a halt in engagement.</span></p><p><span style="font-family: verdana;">When I am in the midst of creative uncertainty, yet engaged in the process of making, my central question is this: Am I struggling because I haven't yet figured out <i>how</i> to manifest what I am reaching for, or is the struggle primarily because I recognize in my gut that what I'm reaching for isn't really where I want to land? When I'm stuck, I can't even engage with the questions. I can only sit with the oppressive weight of emptiness.</span></p><p><span style="font-family: verdana;">. . . . . . . . </span></p><p><span style="font-family: verdana;"><b><span style="color: #0b5394;">My most recent sojourn in the wilderness of stuckness hit hard in October 2021</span></b> after what had been a good year. Despite the pandemic, 2021 started with a solo exhibit that ran concurrently with a group show I curated, and I also participated in a number of group exhibits. Over the summer I completed several groups of new works on paper which </span><span style="font-family: verdana;">expanded on the direction of the work I had exhibited </span><span style="font-family: verdana;">earlier in the year. In addition to painting, I was working steadily on a new series of drawings with energy and curiosity. </span><span style="font-family: verdana;">All was good in the studio, until it wasn't. I started feeling listless, showing up in the studio but barely working. It took enormous effort to overcome inertia and a feeling of pointlessness whenever I attempted to paint. While I was still excited by the paintings I had done during the previous several years, I felt no urgency or curiosity about continuing on in that direction. I kept drawing, but painting became a form of agony. Was the disruption of the pandemic finally catching up with me? Was I demoralized by the ongoing political morass which made any creative pursuit feel like an indulgence? Had I become too isolated from artist friends? Yes, yes, and yes. But despite all, I assumed that this hiccup with painting would be over fairly soon.</span></p><p><span style="font-family: verdana;">After many, many weeks of sitting, I finally acknowledged that I was lost. Perhaps it was time to move in a new direction with painting. But I couldn't summon up the energy to start wandering, which is the only way to uncover where I wanted to go. This wasn't just a hiccup and there was no way of knowing how long it would last. And even though drawing remained a wonderfully rich experience, painting was completely out of reach. I didn't pick up a brush for the next six months.</span></p><p><span style="font-family: verdana;">. . . . . . . </span></p><p><span style="font-family: verdana;"><b><span style="color: #0b5394;">Stuckness is a paralysis that cuts off curiosity, it is the paralysis of fear, the paralysis that suggests that you will remain lost.</span></b> In the midst of stuckness, we feel trapped, lethargic, angry, and purposeless. We may wonder why we put ourselves through this intensely personal misery -- no one asks us to do this, we are here on our own. While some may find it less debilitating than others, I can't imagine that anyone feels joy in the midst of it. </span></p><p><span style="font-family: verdana;">In the midst of stuckness, I might say that I've hit a wall, worked my way into a corner, or in a bout of extreme frustration and self-loathing, been banging my head against the wall. (Surely, you have been there -- making the same painting over and over again, failing miserably each time, but expecting this time, this time, please, please, please, this time I'll figure it out.)</span></p><p><span style="font-family: verdana;">During periods of ordinary struggle, I take in stride the missteps, detours, and simply awful paintings. They happen, I learn from them, and keep going. When I'm in the midst of stuckness, I feel as if everything misses the mark, or goes too far, or not far enough. The occasional moments when I think, 'Aha! I've found it!" are quickly followed by despair. I'm bewildered that I've arrived at this place of complete unknowing when not so long ago, time in the studio was filled with curiosity and excitement.</span></p><p><span style="font-family: verdana;">. . . . . . . . </span></p><p><span style="color: #0b5394; font-family: verdana;"><b>Now that I am no longer stuck, and merely wandering in confusion, I can acknowledge that there was a positive outcome from the experience.</b></span></p><p><span style="font-family: verdana;">I've learned that being stuck is a sign that I am skirting the edge of disruptive change. There will be a prolonged period of being uncomfortable as I slog through unfamiliar territory. But I also know that finding my way through it will eventually be followed by periods of flow and exuberance in the studio. Being stuck has within it the seeds of new understandings, and although it is painful, it has the potential to reinvigorate the creative process. I've learned that rather than viewing it as something to fear, it is best to welcome it when it arrives (clearly easier said than done) and let it take its course.</span></p><p><span style="font-family: verdana;">I continue stumbling my way towards wherever it is I am heading. The disappointments still greatly outnumber the few paintings that hold tantalizing possibilities, even if many of them don't quite sing. While most of the work of the past six months has been painted over, I've held onto some of the more provocative detours because they hold clues for future wanderings. The confusion continues, but it is a beginning. </span></p><p><span style="font-family: verdana;">What is your story about getting unstuck?</span></p><p><span style="font-family: verdana;">(At the end of this post is a small selection of where I wandered over the past six months).</span></p><p><span style="font-family: verdana;">. . . . . . . . </span></p><p><span style="font-family: verdana;">What follows is a list, in no particular order, of how I found my way back to painting. I wrote it as a reminder to myself for the next time I find myself stuck. </span></p><p></p><ul style="text-align: left;"><li><span style="font-family: verdana;">Let go of habitual patterns of working (use unfamiliar materials, work in a way that makes you uncomfortable).</span></li><li><span style="font-family: verdana;">Notice what you are noticing.</span></li><li><span style="font-family: verdana;">Don't get attached to anything you make; nothing is precious</span></li><li><span style="font-family: verdana;">Don't be trapped by rules; open yourself up to what you usually avoid.</span></li><li><span style="font-family: verdana;">If you make something that intrigues you, document it; be prepared to lose it, rather than tiptoeing around it</span></li><li><span style="font-family: verdana;">Even if you think you've arrived, don't narrow the exploration too quickly. Stay curious.</span></li><li><span style="font-family: verdana;">Work small -- it is a quicker way to experiment with less investment of time and materials</span></li><li><span style="font-family: verdana;">Make time to dance with abandon, even if you don't feel like it.</span></li><li><span style="font-family: verdana;">Allow yourself to luxuriate in the work of artists you admire.</span></li><li><span style="font-family: verdana;">Recognize that what may feel like a landing spot might just be a detour, some part of what you are trying to understand but not necessarily the direction you are seeking.</span></li><li><span style="font-family: verdana;">Allow yourself to be uncomfortable</span></li><li><span style="font-family: verdana;">Put on music that will get you dancing.</span></li><li><span style="font-family: verdana;">Ask questions, don't make statements.</span></li><li><span style="font-family: verdana;">Be courageous; you may be here a long while.</span></li><li><span style="font-family: verdana;">Dwell in the act of making, not in what you are making. Paint, but don't try to make paintings. Draw, but don't try to make drawings.</span></li><li><span style="font-family: verdana;">Trust that when you are ready to understand what you've been looking for, your gut will tell you that you've arrived.</span></li><li><span style="font-family: verdana;">Keep going.</span></li><li><span style="font-family: verdana;">Keep dancing.</span></li></ul><div><span style="font-family: verdana;">. . . . . . . . </span></div><div><p><span style="color: #0b5394; font-family: verdana;"><i><b>If you are still reading and curious about where things went....</b></i></span></p><p><span style="font-family: verdana;"><i>What did disruptive change look like for me? </i></span><span style="font-family: verdana;">The essence of this change was to bring drawing into painting. If you take a quick scroll along the sidebar of this blog, you can see that my drawings and paintings have always been on different paths. The drawings are about the energy of line and the paintings dwell on atmospheric color and light. Although some series of paintings have included geometric elements, the painted line was completely absent from my work. </span></p><p><span style="font-family: verdana;">A few months before stuckness fully set in, I noticed myself thinking about bringing a different kind of complexity to my paintings, possibly something about line or form, but I had no 'vision' of what that meant. Fear (and with it, paralysis) crept in because the possibilities were endless. Instead of exploring with brushes and paint, I looked for clues in my drawings, a fool's errand because I've never drawn as preparation for painting. Although created by the same hand, heart, and mind, my drawings and paintings live in separate universes. </span></p><p><span style="font-family: verdana;">The paralysis about painting came to an end when I fully accepted that to bring drawing into painting, I had to put drawing to the side for a while. The only way forward was to jump in, start wrestling with paint and brushes, and get dirty in the mud. </span></p><p><span style="font-family: verdana;">Below are examples of several stops along the way as I explored different interactions of line with the field. For the most part, my palette has now shifted into watery blues, after many years of working with warmer hues. Although the work is still unsettled, a direction is beginning to emerge.</span></p><p><span style="font-family: verdana;"><br /></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLY1kY5JOo-7NABfAPzA9C0fn-OAliwD6riPKcuzSZc7OhABYVrZulYWQKRoUhvrauZx4uTrKo5uyrHT5sF9K7lZUs7bTfwo4Tpz-xb9xuEDiIugLQnMvjZuAkLRRljUPR7EwUFF8zGevTpOj629-nxD0rSYBpTe-Vg2EbrhfkHkCX22jOfgnBk69l3g/s1080/%20%20%20April%207%20%20oilonmylar_0597.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="858" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLY1kY5JOo-7NABfAPzA9C0fn-OAliwD6riPKcuzSZc7OhABYVrZulYWQKRoUhvrauZx4uTrKo5uyrHT5sF9K7lZUs7bTfwo4Tpz-xb9xuEDiIugLQnMvjZuAkLRRljUPR7EwUFF8zGevTpOj629-nxD0rSYBpTe-Vg2EbrhfkHkCX22jOfgnBk69l3g/s320/%20%20%20April%207%20%20oilonmylar_0597.jpg" width="254" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">March 2022. Small oil on mylar, </span></td></tr></tbody></table><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNlh8vajy6cXFybliLR2BmkzlKMpdk-tsidpF53MirUj9jV6swnOC5eVgZ8p0dlwS0X_I1M2Efyne4J0jN_Q0n0iUmU6NFsv3mnODY-GnEz1e8L4Mixsgzs0OXVi28YPMcvfr_a5L4kG_Vd0r8aYNo3V9AkMXQlZxWRFfWWlSuQNiDkfzx309QvYZeGQ/s1080/%20%20%20%20April%2012%20%20oilonmylar%200643.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="914" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNlh8vajy6cXFybliLR2BmkzlKMpdk-tsidpF53MirUj9jV6swnOC5eVgZ8p0dlwS0X_I1M2Efyne4J0jN_Q0n0iUmU6NFsv3mnODY-GnEz1e8L4Mixsgzs0OXVi28YPMcvfr_a5L4kG_Vd0r8aYNo3V9AkMXQlZxWRFfWWlSuQNiDkfzx309QvYZeGQ/w271-h320/%20%20%20%20April%2012%20%20oilonmylar%200643.jpg" title="Oil on mylar / March 2022" width="271" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">March 2022. Small oil on mylar</span><br /> <br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtgE5UxVOa65eyCezM8pTH4sBPIjowjCcv4zDSOTHiQfE9CPP6fLgtSHF-sEhduJz1TDG24aJKt0E_SeUzdXYCHoo1idAFFaIy6li8fmkY3e0Dqk3NwBZfypp9PaqXfpVJLnoV_0hAW45NeRAzgRqh9baALVKLV2tr3OtfqwDZwd4LkzpeSEEBDgljyw/s1440/%20%20%20May12%20%2024x19%20oilonmylar%20%20.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="1122" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtgE5UxVOa65eyCezM8pTH4sBPIjowjCcv4zDSOTHiQfE9CPP6fLgtSHF-sEhduJz1TDG24aJKt0E_SeUzdXYCHoo1idAFFaIy6li8fmkY3e0Dqk3NwBZfypp9PaqXfpVJLnoV_0hAW45NeRAzgRqh9baALVKLV2tr3OtfqwDZwd4LkzpeSEEBDgljyw/w311-h400/%20%20%20May12%20%2024x19%20oilonmylar%20%20.jpg" width="311" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">May 2022. Oil on mylar, 24x19 </span></td></tr></tbody></table><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_dWbR_4j6BunsjWzQyA-cbof6SxiR-I9RBDGtud1BJZajfaGfgFVDWiqYS9-YO-VG7ewGsVdibOTMAVYZd6LDzt3gaBcMB9pgwTce1hreYswOaKvk3P2-X5cmZUo_JmtF00AE_MJgpHIJOnUvNznkWQmBuk7l1ykKdF1vMxuvdgZGvA4pcslY8lHvzA/s1440/%20%20%20July%20oilonmylar%2024x19%20.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="1155" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_dWbR_4j6BunsjWzQyA-cbof6SxiR-I9RBDGtud1BJZajfaGfgFVDWiqYS9-YO-VG7ewGsVdibOTMAVYZd6LDzt3gaBcMB9pgwTce1hreYswOaKvk3P2-X5cmZUo_JmtF00AE_MJgpHIJOnUvNznkWQmBuk7l1ykKdF1vMxuvdgZGvA4pcslY8lHvzA/w321-h400/%20%20%20July%20oilonmylar%2024x19%20.jpg" width="321" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">July 2022. Oil on mylar, 24x19.<br /><br /><br /></span></td></tr></tbody></table><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis_72DtVxhbCqi9JIgmTxonUHqtFSUICOXhcakLuc34R6RxzJtfIn7J91BLH6ozHA0f6jwgNXgwNQe8WobfJcu3QeL0oCD7dQTIGDvn9v44LJjFrrWOL2ei2le85oFzATh9ospYQ44KV07t5ucthXsxZ6nQINQDXFMQh9ZC1yhScESmxsHddCYB2nAUA/s2386/%20%20%20%20March%20small%20panels%20on%20shelf%20.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="2386" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis_72DtVxhbCqi9JIgmTxonUHqtFSUICOXhcakLuc34R6RxzJtfIn7J91BLH6ozHA0f6jwgNXgwNQe8WobfJcu3QeL0oCD7dQTIGDvn9v44LJjFrrWOL2ei2le85oFzATh9ospYQ44KV07t5ucthXsxZ6nQINQDXFMQh9ZC1yhScESmxsHddCYB2nAUA/w640-h386/%20%20%20%20March%20small%20panels%20on%20shelf%20.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">March 2022. Oil on panel, 14x11.</span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh4QiMjC0c5kugN_f0Opua8-Ok6eL_o2JShpvCGwbJdfUNvdeIMw0hrGgB36VMT3p1iigZjd7lYpb6vQqf0Aue0wbXOHdz2iTK4Op1BGKZ8bXcbqdWVtJUmtDOEfWnNM41LkWqkwM4CUDb7__DrXGIQoKNnyfHN2hpiEdEWy1Uc6utB3a481ojUWWKaQ/s1440/%20%20%20panel%20%2036x20%20%20%20May26%20%20%20small%20file.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="817" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh4QiMjC0c5kugN_f0Opua8-Ok6eL_o2JShpvCGwbJdfUNvdeIMw0hrGgB36VMT3p1iigZjd7lYpb6vQqf0Aue0wbXOHdz2iTK4Op1BGKZ8bXcbqdWVtJUmtDOEfWnNM41LkWqkwM4CUDb7__DrXGIQoKNnyfHN2hpiEdEWy1Uc6utB3a481ojUWWKaQ/w365-h640/%20%20%20panel%20%2036x20%20%20%20May26%20%20%20small%20file.jpg" width="365" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">May 2022. Oil on wood panel. 36x20</span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOW5eVK2n259M5KuXwobjrrmMlZXTLe62Be74BLZof-djnUZHrs7WynJ6aIlPb9G68JtuRgmHQd4Fyr8vRF_fs7za2327bwiLkmu44urfZtEiKGC5YzcHFvLyU4HdhttyZuotcGHJpzhu8aKKWkFySYvLYDKvc0xZdzETBmecmfkEVBA7QHEesFKRYIw/s1440/%20%20%20Aug%2023%20%20%20panel%2015.5x14%20%20%20.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="1291" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOW5eVK2n259M5KuXwobjrrmMlZXTLe62Be74BLZof-djnUZHrs7WynJ6aIlPb9G68JtuRgmHQd4Fyr8vRF_fs7za2327bwiLkmu44urfZtEiKGC5YzcHFvLyU4HdhttyZuotcGHJpzhu8aKKWkFySYvLYDKvc0xZdzETBmecmfkEVBA7QHEesFKRYIw/w359-h400/%20%20%20Aug%2023%20%20%20panel%2015.5x14%20%20%20.jpg" width="359" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">August 2022. Oil on wood panel. 15.5x14</span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXCKA-48Vrrr-qnKiAGtYvcBkgU66yt47siK9wyz0Na_eUAe6j1331BYoZax94Pd6wT1ZjEKeH2VWh0l3zEswld14yPf7gH6T9hRvb_X3wvIr2S0vgsfaqz3THP6XUisI9XhgQbV4WH_Q-mM4X7ZjAQUvmBiJgRgMIyfcRWVM4wXXtnDVg7sMFRaiw0A/s1438/%20%20%20Aug%2025%20%20panel%20%2015.5x14%20.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1438" data-original-width="1290" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXCKA-48Vrrr-qnKiAGtYvcBkgU66yt47siK9wyz0Na_eUAe6j1331BYoZax94Pd6wT1ZjEKeH2VWh0l3zEswld14yPf7gH6T9hRvb_X3wvIr2S0vgsfaqz3THP6XUisI9XhgQbV4WH_Q-mM4X7ZjAQUvmBiJgRgMIyfcRWVM4wXXtnDVg7sMFRaiw0A/w359-h400/%20%20%20Aug%2025%20%20panel%20%2015.5x14%20.jpg" width="359" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">August 2022. Oil on wood panel. 15.5 x 14</span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw00-zCu5O0gjN630bVgxrKOmDsJdFNx_Ov_Umzf4xMMctyeF9e8VOmM3C4NkrcC0QwsOfKEi6n7nllESKx2GOrcy-iDZKBRhcmrS8U8JD1iqPAX6aDNT66e72mxjBiYZV1EyOFz5ehOBeoCIR7HsLICuFI5lFMteqTh3oy4urU3dMqOvgODgEmnDaxg/s1434/%20%20%20Aug%2023%20%20%20panel%20%2015.5x14%20%20.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1434" data-original-width="1288" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw00-zCu5O0gjN630bVgxrKOmDsJdFNx_Ov_Umzf4xMMctyeF9e8VOmM3C4NkrcC0QwsOfKEi6n7nllESKx2GOrcy-iDZKBRhcmrS8U8JD1iqPAX6aDNT66e72mxjBiYZV1EyOFz5ehOBeoCIR7HsLICuFI5lFMteqTh3oy4urU3dMqOvgODgEmnDaxg/w359-h400/%20%20%20Aug%2023%20%20%20panel%20%2015.5x14%20%20.jpg" width="359" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">August 2022. Oil on wood panel. 15.5x14</span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdlMbVRkvua1M2Q4tp-iplJ3BOA9WqH2SqZi4xYaKc3TVElCKmLr4c_MsDKqK5Ni__E7XfjC_dPDF8PNi2m1OrQrYYl5CfvDauIUHUcigZmV_G1kRe-8Utrg_vHGG8BU4N58OG4tziS7dGou1rDiF82a-2zmGxAqGuw0Y43gKvmEnJWYe2tq0EUbK5hg/s1440/%20%20%20%20Sept%207%20panel%2015.5x14%20.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="1306" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdlMbVRkvua1M2Q4tp-iplJ3BOA9WqH2SqZi4xYaKc3TVElCKmLr4c_MsDKqK5Ni__E7XfjC_dPDF8PNi2m1OrQrYYl5CfvDauIUHUcigZmV_G1kRe-8Utrg_vHGG8BU4N58OG4tziS7dGou1rDiF82a-2zmGxAqGuw0Y43gKvmEnJWYe2tq0EUbK5hg/w363-h400/%20%20%20%20Sept%207%20panel%2015.5x14%20.jpg" width="363" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">September 2022. Oil on wood panel. 15.5x14</span></td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: verdana;">To see my paintings prior to this shift in direction, visit my website: <a href="https://www.tamarzinn.com/where-i-find-myself-2220-20/">https://www.tamarzinn.com/where-i-find-myself-2220-20/</a></span><div><span style="font-family: verdana;"><br /></span><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /></div>Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com1tag:blogger.com,1999:blog-5008393394459043474.post-39082611353401304392020-05-27T19:42:00.000-04:002020-05-31T20:30:30.635-04:00Why I draw : Artists and their sketchbooks<h2 style="background: white; font-family: Cambria; margin: 0in 0in 0.0001pt; text-align: center;">
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<i><span style="font-family: "calibri";"><span style="color: #45818e; font-size: large;">I make them to discover myself. </span></span></i></h2>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small; font-weight: normal;">MARGARET NEILL </span><i style="font-family: cambria;"><span style="font-family: "calibri";"><span style="color: #45818e; font-size: large;"> </span></span></i></h2>
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<span style="font-family: "trebuchet ms" , sans-serif;"><br /><span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="color: #45818e;">I’ve always found the sketchbooks of artists engaging because of the sense of spontaneity present on their pages.</span></b> Unfortunately, </span><span style="font-family: "trebuchet ms" , sans-serif;">since most artists don’t share their sketchbooks publicly, </span><span style="font-family: "trebuchet ms" , sans-serif;">there are relatively few opportunities to see them. While museums occasionally exhibit a modest selection of sketchbooks as part of major retrospectives, at best we see just a few pages from decades of notebooks. The best-known exception to that near total invisibility are the widely published sketchbooks of Leonard da Vinci, available both in print and online. Additionally, it is now possible to see the complete sketchbooks (29 sketchbooks with 1045 drawings!!!) of Richard Diebenkorn <a href="http://museum.stanford.edu/diebenkornsketchbooks/" target="_blank"><b><span style="color: #45818e;">here</span></b></a><span style="color: #76a5af;">,</span> and some Cezanne sketchbooks <a href="https://www.themorgan.org/collection/paul-cezanne/sketchbook/6" target="_blank"><b><span style="color: #45818e;">here</span></b></a>. The Tate Museum offers access to an online catalog with thousands of images from JMW Turner sketchbooks, drawings, and watercolors <b><span style="color: #134f5c;"><span style="color: #45818e;"><a href="https://www.tate.org.uk/art/research-publications/jmw-turner" target="_blank">here</a>.</span> </span></b>The 2011 Serra exhibit at the Metropolitan Museum included a vitrine with a whopping 25 sketchbooks, but unfortunately they cannot be viewed online at this time. </span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">In a <span style="color: #45818e;"><b><a href="http://tamarzinn.blogspot.com/2020/04/why-i-draw-notebook-drawings.html" target="_blank">previous post</a></b>,</span> I wrote about the role of notebook drawings in my studio practice</span><span style="font-family: "trebuchet ms" , sans-serif;">. Working in notebooks gives me the freedom to make a mess, to work without rules, and provides a space in which my hand, rather than my head, takes the lead. Since I don’t remove any of the pages, the bound notebooks also become a sequenced ‘diary’ of visual notes.</span></div>
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<i><span style="font-family: "calibri";"><span style="color: #45818e; font-size: large;">Each page is a note to self, a gestural record </span></span></i><i><span style="font-family: "calibri"; font-size: large;"><span style="color: #45818e;">of a moment in time.</span> </span></i></h2>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small; font-weight: normal;">TAMAR ZINN</span></h2>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #45818e;"><b>My curiosity about how other artists make use of their sketchbooks led me to reach out to a small group of artist friends with a series of questions</b>.</span> With the exception of one or two who regularly post sketchbook pages on social media, I had no idea how often they worked in their sketchbooks, what purpose they served, or if they now relied on digital sketchbooks. </span><span style="background-color: transparent; font-family: "trebuchet ms" , sans-serif;">Ten artists very generously took the time to respond to my questions and share several images from their sketchbooks. Their responses are both thoughtful and engagingly candid. </span><span style="font-family: "trebuchet ms" , sans-serif;">I had intended to limit this post to artists who work in ‘traditional’ sketchbooks, since the mark of the hand is particularly meaningful for me. Nonetheless, I have included an artist who by his own admission last worked in a bound sketchbook many decades ago, and also develops preliminary drawings digitally, rather than working with pencil and paper sketches</span><span style="background-color: transparent; font-family: "trebuchet ms" , sans-serif;"> Finally, where I have briefly quoted from an artist's response, that artist's initials appear after the quote.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #45818e;"><b>While there were several commonalities among the responses, also in evidence was the deeply personal nature of keeping a visual diary</b>.</span> For most, sketchbooks are for loosening up, serving as a platform for open-ended meanderings, where ‘anything goes’ (RA). However for one painter ‘they are where I scale up for the transfer to the much larger paintings’ (SB). And for another, ‘sketches help me change direction in a painting so I can move forward’ (CS).<o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Just what goes onto the notebook pages varies from artist to artist. The sketchbooks are often strictly visual, but may also include notes on the drawings, quotations from readings, or observations about exhibits. Although some artists work exclusively in pen or pencil in their notebooks, others will switch off between charcoal, watercolor, or collage. <o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">What is apparent is that the use of sketchbooks frequently becomes ritualized. Most have an almost obsessive preference for a specific size and manufacturer that lasts for years. Some will use a different sketchbook to explore each type of media, while others will mix it up. For several artists, working in a sketchbook is a daily practice, but for others, it is a sporadic activity. ‘Not all that often. A sudden burst of activity, especially while out of my studio and home.’ (KS).</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="color: #0c343d;">What follows below are edited selections from each artist’s response to my questions.</span></b><o:p></o:p></span></div>
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<i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">I love seeing people's sketchbooks! </span></i></h2>
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<i><span style="color: #45818e;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">The voice is often different from the 'real' work - </span></span></i></h2>
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<i><span style="color: #45818e;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">it doesn't have its shoes on. </span><span style="font-family: "calibri"; font-size: 12pt;"> </span></span></i></h2>
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<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><br /></i></span></span>
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<span style="font-family: "trebuchet ms" , sans-serif;">Anything goes. Sometimes I draw just for the sensation of it. Sometimes I hit on something and fill the whole sketchbook with it. Basically it's free space I can occupy however I please at the moment.<b><o:p></o:p></b></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="background: white;">Do you consider your sketchbooks private? </span><span style="background: white;"><o:p></o:p></span></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Depends on the sketchbook - ones that are just drawings aren't particularly private but those that are strewn with notes are a different story.<o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="background: white;">Are your sketchbooks the same size ? </span><span style="background: white;"><o:p></o:p></span></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Around 8x10. I'm particular about the feel of the paper and how it takes ink: cheap paper is best, newsprint is so soft and mellow.... I hate to draw on good thick paper that seems to beg for some formality, some intention, that seems to require that the drawing be 'good'.<o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="background: white;">Are your sketchbooks exclusively a visual journal or do you also write notes?</span><span style="background: white;"><o:p></o:p></span></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Notes also but not always. I'm also fond of crossing out notes and turning the crossings-out into a drawing...</span><span style="font-family: "calibri"; font-size: 11pt;"><o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://www.rosaireappel.com/" target="_blank">ROSAIRE APPEL WEBSITE</a></span><br />
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<i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">In the sketchbook, I work through many ideas, usually by </span></i><i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">constantly erasing and redrawing until it arrives.</span></i></h2>
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<span style="font-family: "calibri"; font-size: 10pt;"><span style="font-weight: normal;">STEVEN BARIS</span></span></h2>
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<span style="font-family: "calibri"; font-size: 10pt;"><span style="font-weight: normal;">STEVEN BARIS</span></span></h2>
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<span style="font-family: "trebuchet ms" , sans-serif;">For me the sketchbook drawings are all about developing ideas and especially for exploring compositional possibilities. Also they are where I scale up for the transfer to the much larger paintings.<o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="background: white;">Do you look back to sketchbooks you did years ago?</span><span style="background: white; color: #500050;"><o:p></o:p></span></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Not that often, but once in a while I do. At times it can be inspiring and precipitate a renewal of an older, nearly forgotten series. Other times it can be a bit embarrassing. <b> <o:p></o:p></b></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">……. looking back on way older sketchbooks, I realize that I used to do a lot more writing; some pages had little to no drawing. But that’s not the case more recently, and I think the reason is that I do so much more writing elsewhere.</span><span style="font-family: "calibri"; font-size: 11pt;"><o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://www.stevenbaris.com/" target="_blank">STEVEN BARIS WEBSITE</a></span></div>
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<b><span style="font-family: "calibri";"><span style="color: #45818e; font-size: x-large;">KATHY ELLIOTT</span></span></b></div>
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<i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">There is no judgment, they just exist.</span></i></h2>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small;"><span style="font-weight: 400;">KATHY ELLIOTT</span></span></h2>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small;"><span style="font-weight: 400;">KATHY ELLIOTT</span></span></h2>
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<span style="font-family: "trebuchet ms" , sans-serif;">They are meditative, a daily exercise, and a part of who I am. I set intentions at times, such as looking at artwork I admire and then recreate this structure or line work, which opens me up to new pathways in how I see as well as how I use the tools and my hands….. They are like automatic thoughts that have been shared. <o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Are there connections between your sketchbooks and the rest of your studio practice?</i></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">I often don't realize the connection my sketchbooks have to my work. Sometimes I will look through an older sketchbook and find something almost identical to something more recently painted or drawn. <span style="color: #500050;"><o:p></o:p></span></span><br />
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<i><span style="font-family: "trebuchet ms" , sans-serif;">How often do you work in your sketchbooks?<o:p></o:p></span></i></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">My sketchbooks are touched every day, even if only to revisit, sometimes revise, or actually dig right in and scribble, doodle, and sketch! I have many going at the same time. <b><span style="color: blue;"><o:p></o:p></span></b></span><br />
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<i><span style="font-family: "trebuchet ms" , sans-serif;">What size are your sketchbooks and what media do you use?<o:p></o:p></span></i></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">I tend to like squares. They vary in size, from 5” x 5” to 12” x 12”. I work in g</span><span style="font-family: "trebuchet ms" , sans-serif;">raphite, ink, charcoal, watermedia, collage, oil and cold wax….. it depends on the paper.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://www.kathyelliottart.com/" target="_blank">KATHY ELLIOTT WEBSITE</a></span></div>
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<b><span style="font-family: "calibri";"><span style="color: #45818e; font-size: x-large;">LORRIE FREDETTE</span></span></b></div>
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<i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">I’ve learned to not make sketchbooks/One Books “too precious” because </span></i><i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">when I do, they no longer offer me the freedom </span></i></h2>
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<i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">I seek from their pages.</span></i></h2>
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<span style="font-family: "calibri"; font-size: 10pt;"><span style="font-weight: normal;">LORRIE FREDETTE</span></span></h2>
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<span style="font-family: "calibri"; font-size: 10pt;"><span style="font-weight: normal;">LORRIE FREDETTE</span></span></h2>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Describe the purpose of your sketchbooks:<o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">The primary purpose of my sketchbooks is to gather impressions. The idea, the feeling, and the imitation are gathered without any censoring. In addition, I keep a project sketchbook. When I make the decision to commit to an installation, it receives the honor of its own book.<o:p></o:p></span><br />
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<i style="background-color: white; font-family: "trebuchet ms", sans-serif;">Are there connections between your sketchbooks and the rest of your studio practice?</i></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">My studio practice is pretty defined, systematic and maintains a routine when I’m working on an installation. My sketchbook is the total opposite…thank goodness!<o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Do you consider your sketchbooks private or do you show them to other people?<o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">In this age of revealing everything, I’ve mostly kept my sketchbooks private. They’re a bit like a journal.<o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Do you look back to sketchbooks you did years ago? <o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Oh yes! There was a leak in my studio last year and I lost several of them due to water damage. It was utterly heartbreaking.<o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Is there another artist whose sketchbooks had an influence on your work? <o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">No, no particular artist. I would share I do have a fascination with DaVinci’s notebooks, Francis Ford Coppola’s “The Godfather” script notes, and the field books of explorers like Alexander von Humboldt, Charles Darwin, Margaret Fountaine and Colin Thubron.<o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://www.instagram.com/lorriefredette/" target="_blank">LORRIE FREDETTE WEBSITE</a></span></div>
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<b><span style="font-family: "calibri";"><span style="color: #45818e; font-size: x-large;">MILISA GALAZZI</span></span></b></div>
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<i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">I feel very vulnerable sharing my sketchbooks </span></i></h2>
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<i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">and I think that that is a good thing.</span></i></h2>
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<span style="font-family: "calibri";"><span style="font-size: 13.3333px; font-weight: 400;">MILISA GALAZZI</span></span></h2>
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<span style="font-family: "calibri";"><span style="font-size: 13.3333px; font-weight: 400;">MILISA GALAZZI</span></span></h2>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Describe the purpose of your sketchbooks:<o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">My sketchbooks are a creative practice in and of themselves. I look at them as thinking books or idea books, which document the meanderings of my creative mind……. [they include] list of all kinds, quick sketches, doodles, preliminary drawings of larger ideas, and collections of things glued into the pages which document my activities like museum trips, art shows, trips to interesting places…. My sketchbooks serve as my portable Idea Wall.<span style="color: blue;"><o:p></o:p></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>How often do you work in your sketchbooks?<o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">I date each page in the bottom left or right. I work hard to not let more than three days go by without filling a page. This has been my practice for the past 12 years.<o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Are all your sketchbooks the same size? <o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">All thirty of my sketchbooks are Moleskin 8x12 with thick drawing paper so that I can use water media and dry media as well as glue stick pieces of paper. I do have an additional twenty-five sketchbooks from my high school and college days. They are all random sizes and some are not fully complete.<o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Is there an artist whose sketchbooks had an influence on your work?<o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://us1.campaign-archive.com/?u=25a34f10515c4e9393e3da856&id=af1eb92126" target="_blank">Austin Kleon’s</a> sketchbooks inspire me. His whole creative practice is writing and creating sketchbooks.</span><span style="font-family: "cambria"; font-size: 11pt;"><o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://www.milisagalazzi.com/Artist.asp?ArtistID=14330&Akey=45XCHL8A&ajx=1" target="_blank">MILISA GALAZZI WEBSITE</a></span></div>
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<b><span style="font-family: "calibri";"><span style="color: #45818e; font-size: x-large;">MARGARET NEILL</span></span></b></div>
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<i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">I learn things about myself, my mood, </span></i></h2>
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<i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">and how my hand is </span></i><i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">connected to my thoughts </span></i></h2>
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<i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">and heart at that moment.</span></i></h2>
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<span style="font-family: "calibri"; font-size: 10pt;"><span style="font-weight: normal;">MARGARET NEILL</span></span></h2>
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<span style="font-family: "calibri"; font-size: 10pt;"><span style="font-weight: normal;">MARGARET NEILL</span></span></h2>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Describe the purpose of your sketchbooks:<o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">The purpose of the sketchbooks is multifold. I use sketchbooks to explore a particular medium. Also I love the format of a book to create small working sketches including the double pages and the consecutive pages. What is interesting to me is the beginning, middle, and end, as in a book that one reads.. ……<b> </b>working in sketchbooks allows me to see what comes up organically without any predetermined notion of expectation.<o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Do you look back to sketchbooks you did years ago?<o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Oh yes. To remind me of what happened.<o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>What media do you use in the sketchbooks?<o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Each sketchbook is usually devoted to one particular media. I enjoy the aspect of filling a sketchbook with a particular media I am exploring. Front to back. I’m obstinate about that.<o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Is there another artist whose sketchbooks had an influence on your work?<o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Yes. Cezanne watercolors, Van Gogh Drawings. Some of the early American artists, I think Whistler. And Delacroix. Also my mother she filled many books with images, papers paraphernalia and sketches. They are a huge influence. She wanted us to see them.</span><span style="font-family: "cambria"; font-size: 11pt;"><o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://margaretneillstudio.com/home.html" target="_blank">MARGARET NEILL WEBSITE</a></span></div>
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<b><span style="font-family: "calibri";"><span style="color: #45818e; font-size: x-large;">KAREN SCHIFANO</span></span></b></div>
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<b><i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">I</span></i></b><i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;"> do like the freedom they give me to explore </span></i></h2>
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<i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">and make bad images!</span><span style="font-family: "calibri"; font-size: 12pt;"><o:p></o:p></span></i></h2>
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<span style="font-family: "calibri"; font-size: 10pt;"><span style="font-weight: normal;">KAREN SCHIFANO</span></span></h2>
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<span style="font-family: "calibri"; font-size: 10pt;"><span style="font-weight: normal;">KAREN SCHIFANO</span></span></h2>
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<i style="font-family: "trebuchet ms", sans-serif;">Describe the purpose of your sketchbooks:</i></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">I don’t actually routinely work in sketchbooks. I'll pick one up once in a while when I need to plan new paintings or installations. I use them mainly for little primitive sketches of new shapes that I might use for paintings later, basic compositional ideas for a series….. The notebooks are for externalizing visual thoughts I might have ……… I think that finally, my notebooks are really used for a kind of mental notation, rather than for serious drawing or research. They are for thinking, but certainly not finished work, nor maybe even of interest to anyone beside myself!<o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Do you look back to sketchbooks you did years ago?<o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">I save them, as well as all my journals dating back to the 1980s. I don’t often look through old sketchbooks, but if I’m stuck, I pull them out. S</span><span style="font-family: "trebuchet ms" , sans-serif;">ometimes I do look back through recent ones to see if I can mine something I may have forgotten about. </span><span style="font-family: "trebuchet ms" , sans-serif;">It’s possible that I do more writing to myself than sketching! In the journals, I sometimes take notes from books I’m reading and want to remember. Those ideas have, at times, changed the way I see and think! I am quite visual, though, but the language-based thinking sometimes gives me an insight that becomes visual later on. </span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Are your sketchbooks the same size? <o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Different sizes, mainly : 4 x 6 inches, 6 x 8 inches. If people give me notebooks with fancy bindings and paper, I tend not to use them, because I find them intimidating! I want them to be portable, not large sheets of paper. I usually put one or two small images on each page.</span><span style="font-family: "calibri"; font-size: 11pt;"><o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://www.karenschifano.com/" target="_blank">KAREN SCHIFANO WEBSITE</a></span></div>
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<b><span style="font-family: "calibri";"><span style="color: #45818e; font-size: x-large;">CLAIRE SEIDL</span></span></b></div>
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<i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">I make sketches to loosen up, not as a means to an end</span></i></h2>
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<i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;"> but as an end in itself.</span></i></h2>
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<span style="font-family: "calibri"; font-size: 10pt;"><span style="font-weight: normal;">CLAIRE SEIDL</span></span></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Oy9ycbvyyEnxV7r3qM8MACz_h0AIe4_B8FgV5T7UZE92eIZWJdJeTYCTeCHtpSxHu_72W4BEAMGoN2gcJkrfvg4biHDolzZVpJ6yuVzIjAVSZ2nv5laT7UFWFI7LYJXDE8Hl0clHMq9O/s1600/Seidl+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="977" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Oy9ycbvyyEnxV7r3qM8MACz_h0AIe4_B8FgV5T7UZE92eIZWJdJeTYCTeCHtpSxHu_72W4BEAMGoN2gcJkrfvg4biHDolzZVpJ6yuVzIjAVSZ2nv5laT7UFWFI7LYJXDE8Hl0clHMq9O/s400/Seidl+2.jpg" width="400" /></a></td></tr>
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<span style="font-family: "calibri"; font-size: 10pt;"><span style="font-weight: normal;">CLAIRE SEIDL</span></span></h2>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Describe the purpose of your sketchbooks:<o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">I keep sketchbooks but tend to rip out their pages when a drawing has something to do with a painting. I hang them up around the studio so I can see. Once in a while, a sketch will serve as a beginning to a painting. Other times, sketches help me change direction in a painting so I can move forward. Sometimes, I sketch during the process of painting to record what is there temporarily, just before I cover it up, as a record which might direct me later.<o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Are all your sketchbooks the same size? <o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">The sketchbooks are usually between 8 and 16 inches and different sizes. They have to be small enough that they don’t turn into “works on paper” but big enough to see them and move around in them.<o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>What media do you work with in your notebooks?<o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Sometimes the sketches have color, sometimes they are stark black and white. I might use pencil or charcoal or crayon or ink and watercolor with brushes.</span><span style="font-family: "cambria"; font-size: 11pt;"><o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://www.claireseidl.com/" target="_blank">CLAIRE SEIDL WEBSITE</a></span></div>
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<b><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: x-large;">MARK WETHLI</span></b></div>
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<i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">With the arrival of Photoshop, nearly all of my preliminary </span></i><i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">drawings </span></i></h2>
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<i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">shifted to the computer.</span></i></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2MANen5acGOTNlrhhyDMP0buoU3lsP2mirhX7Sc9Y4D-bI7f8gEMqAfdCCL2LP8IFMfG81_UGMQWxilpB-7ssy0_rbNW_cG3Sn_9IqtUTxxE5FxXQZjRxbBCvCIQcCyvfjH6rMNv3WEbz/s1600/Wethli-Sketchbook.1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1310" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2MANen5acGOTNlrhhyDMP0buoU3lsP2mirhX7Sc9Y4D-bI7f8gEMqAfdCCL2LP8IFMfG81_UGMQWxilpB-7ssy0_rbNW_cG3Sn_9IqtUTxxE5FxXQZjRxbBCvCIQcCyvfjH6rMNv3WEbz/s400/Wethli-Sketchbook.1.jpg" width="326" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #500050; font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Just four of countless variations on a theme, from 2018, <br />trying out different constants and variables.</span></span><br />
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<span style="font-family: "calibri";"><span style="font-size: 13.3333px; font-weight: 400;">MARK WETHLI</span></span></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8UiG0ZtdPdajDNSDY4e_7Msq61_6fKd0uBv-lVTrphWS5Xa3pUqkQnJhRKeopWRLJ1aQMoRWjBuqyNUWsB-s0biKMyQwSPrZ1M5onehmFj7mCh9PcWGhbTNldRP122kM4DKFZrM7ohq8_/s1600/Wethli-Sketchbook.2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="691" data-original-width="864" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8UiG0ZtdPdajDNSDY4e_7Msq61_6fKd0uBv-lVTrphWS5Xa3pUqkQnJhRKeopWRLJ1aQMoRWjBuqyNUWsB-s0biKMyQwSPrZ1M5onehmFj7mCh9PcWGhbTNldRP122kM4DKFZrM7ohq8_/s400/Wethli-Sketchbook.2.jpg" width="400" /></a></td></tr>
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<span style="background-color: white; color: #500050; font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">The best version in this series of studies (which I have yet to paint)<br />happened by rotating the last variation (from the four above). The roughed up edges from all </span></span></div>
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<span style="background-color: white; color: #500050; font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">cutting, pasting, and digital "noise" also suggest that it will work better with less precise edges.</span></span></div>
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<span style="font-family: "calibri";"><span style="font-size: 13.3333px; font-weight: 400;">MARK WETHLI</span></span></h2>
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<span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="background: white;">Thoughts on Keeping a Digital Sketchbook</span></b><b><span style="color: blue;"><o:p></o:p></span></b></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">I think the last time I drew in a bound sketchbook was in college. As much as I love the idea of keeping a visual journal, it was always more natural for me to grab the nearest sheet of paper and make some thumbnail sketches when it was time to start a painting. </span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">With the arrival of Photoshop, however, nearly all of my preliminary drawings moved to the computer. On my desktop is a folder called “Studio"--a virtual work space. It includes digital sketches and numerous variations, like the ones shown here.<span style="font-family: "calibri";"><o:p></o:p></span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">The thing about Photoshop that I find most useful is its ability to generate hundreds of alternatives in a very short time. Even so, I’m well aware that speed isn’t always a good thing. There are tiny gestations that only happen in those brief moments when we stop, glance up from the paper, and then continue, but my fingers are slow enough on the keyboard that things don’t slip by too quickly. <span style="font-family: "calibri";"><o:p></o:p></span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Another use of Photoshop that’s been a huge help is photographing paintings in progress when they hit a snag, taking them back into the computer, and trying out different ways to move them forward. These often turn into sketches for new paintings and leave a useful track record of “states,” similar to printmaking, that I find useful to return to for new ideas.</span><span style="font-family: "calibri"; font-size: 12pt;"><o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://www.instagram.com/markwethlistudio/" target="_blank">MARK WETHLI WEBSITE</a></span></div>
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<b><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: x-large;">MARK ZIMMERMANN</span></b></div>
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<i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">They lay bare the process of my work, yet there is a freedom </span></i><i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">in the notebook </span></i><i><span style="color: #45818e; font-family: "trebuchet ms" , sans-serif; font-size: large;">that I don’t have in the studio. </span></i></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKD9icYpLnBX9s87OQCWF209qmUC6vrjidvOWGZbehmJ7LJOJ1YVjH1kAAQESmuXQHjrOqh3TBb85U6y2DrcVGZt2rfn4MkS-EgCvpwUUXK7ysbsjvrz8OAsNxU4aOw78kvVZsGoq21FZC/s1600/Zimmerman+2019.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1138" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKD9icYpLnBX9s87OQCWF209qmUC6vrjidvOWGZbehmJ7LJOJ1YVjH1kAAQESmuXQHjrOqh3TBb85U6y2DrcVGZt2rfn4MkS-EgCvpwUUXK7ysbsjvrz8OAsNxU4aOw78kvVZsGoq21FZC/s400/Zimmerman+2019.jpg" width="283" /></a></td></tr>
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<span style="font-family: "calibri";"><span style="font-size: 13.3333px; font-weight: 400;">MARK ZIMMERMANN</span></span></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXt78Haj2RJOaSevk0FI8AkEuJUjhr4d3lrAwNUGLz6rXvDqGSAzPXgHenM01wh3vL7SVtQInwoCtCq4vB0mIZ0pxPOg2tMZmqd8N9ceM0HEQNlKJ_CF4qQ9OYt6klgwfnYrgzO1c1Lzxs/s1600/Zimmerman+2020.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1177" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXt78Haj2RJOaSevk0FI8AkEuJUjhr4d3lrAwNUGLz6rXvDqGSAzPXgHenM01wh3vL7SVtQInwoCtCq4vB0mIZ0pxPOg2tMZmqd8N9ceM0HEQNlKJ_CF4qQ9OYt6klgwfnYrgzO1c1Lzxs/s400/Zimmerman+2020.jpg" width="293" /></a></td></tr>
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<span style="font-family: "calibri";"><span style="font-size: 13.3333px; font-weight: 400;">MARK ZIMMERMANN</span></span></h2>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Describe the purpose of your sketchbooks:<o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">My notebooks exist (primarily) outside of my studio, yet have a huge impact regarding formal possibilities, titles & or concepts…… I see them as visual, poetic & practical. In a museum, I’ll take notes, I’ll write down quotes from what I’m reading, I’ll sketch out forms. It’s just part of my day...<i><span style="font-family: "calibri";"><o:p></o:p></span></i></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>How often do you work in your sketchbooks?<o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Almost every day. It’s a very organic process- I might simply jot down a list of potential titles for paintings, the first paragraph of an essay, or a list of to-do’s & it morphs into a few drawings, or a poem...<o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Do you look back to sketchbooks you did years ago? <o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">I’m always looking back. My paintings usually take 1-2 years to make, whereas my notebook work is very spontaneous. I find ideas in those books of last year...<o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Is there another artist whose sketchbooks had an influence on your work? <o:p></o:p></i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">In terms of “practice”, the informal drawings of Richard Serra & Brice Marden laid out a path.</span><span style="font-family: "cambria"; font-size: 11pt;"><o:p></o:p></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://markzimmermann.net/" target="_blank">MARK ZIMMERMANN WEBSITE</a></span><br />
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<span style="color: #45818e; font-family: "trebuchet ms" , sans-serif;"><b><i>A few more sketchbook pages...... </i></b></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">RICHARD DIEBENKORN Page from Sketchbook 4</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">PAUL CEZANNE</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">RICHARD SERRA</span></td></tr>
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<span style="color: #45818e; font-family: "trebuchet ms" , sans-serif;"><i>The notebooks ground people's perception of the work and it gives them an experience of who is this person making this work..... What does this guy do when he is in the world, in his daily life? </i></span></h2>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small; font-weight: normal;">RICHARD SERRA</span></h2>
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Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com18tag:blogger.com,1999:blog-5008393394459043474.post-34039468741310979332020-04-21T20:55:00.000-04:002020-04-22T10:39:45.011-04:00Why I Draw : Notebook drawings<div class="MsoNormal" style="margin: 0in 0in 0.0001pt;">
<span style="color: #990000; font-family: "verdana" , sans-serif;">This is the first of what I anticipate will be several posts about drawing. It is a personal and decidedly myopic reflection of one artist’s experiences with mark-making. I expect that for some visual artists what I describe will ring true, while for others, the experience of drawing is markedly different from my own. </span><span style="color: blue; font-family: "verdana" , sans-serif;"> <o:p></o:p></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="color: #990000;">I am starting this series with a discussion of my <b>notebook drawings</b></span><span style="color: blue;">.</span> For me, drawing is the most direct form of visual expression, and my notebook drawings are the truest expression of my uncensored self. Think of what it is like to dance with abandon when no one is watching. Think of what it is like to sing when walking alone in the woods. The joy and freedom are present both in the physicality and the privacy of the experiences. And that experience is at the heart of my notebook drawings. <o:p></o:p></span><br />
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<span style="font-family: "verdana" , sans-serif;">Most recently, in the midst of the COVID19 pandemic, I have been limited to working from home. So drawing in my notebooks is now my only studio activity, day after day. Perhaps because it is all I have access to, perhaps because it is a way to block out the troubles that rage outside my door, the notebooks are filling up very quickly. Although the physicality and solitary experience of working in the notebooks remains, a sense of joy has largely eluded me. I've included a small sample of the nearly 250 pages completed between March 27 and April 20. The drawings shown here are not presented in the sequence of the notebooks.</span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: #990000;">Each page in my notebook is a fragment, a note to self, a gestural record of a moment in time.</span> My notebooks are fairly small – most are 8.5 x 5.5” and none larger than 14 x 11” – so that I can work quickly, as well as also see the entire the page without stepping back. It is also important to me that these drawings remain together as a notebook.<i> </i>Working this way preserves the sequence of drawings, but more importantly, when I feel myself floundering I just turn the page and start again.<i><o:p></o:p></i></span></div>
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<span style="font-family: "verdana" , sans-serif;">I keep a variety of materials at hand – sticks of compressed charcoal, large charcoal blocks, oil pastels, graphite, conté crayons, rags, scraping tools and erasers. Every drawing material has a different feel on the paper and I want to switch between them with minimal disruption to my process.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: #990000;">There is no plan.</span> Each day, I start somewhere, anywhere, just to see what will happen. It is about letting my hand lead the way, unmediated by consciousness. It is about getting lost so I can find out where I am heading. It is about working fluidly before thoughts intrude and interrupt my hand. The process is motivated by a restless energy, and I keep going, page after page, until I get tired or more likely, frustrated. The frustration stems from my gut telling me that once again, there are too many marks on the page. <o:p></o:p></span><br />
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<span style="font-family: "verdana" , sans-serif;"><br /></span><span style="font-family: "verdana" , sans-serif;">I've noticed that when working in a larger format (14 x 11"), I am likely to define the edges of the field. This allows for a more deliberate dialog between the gestures and the boundaries of the image. While this decision is made before I start drawing, after taping the edges I go back to letting my hand lead the way.</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="color: #990000;">None of this is to suggest that my conscious mind is absent from the entire process</span>. But I try to keep it at bay at least until I’ve done 7 - 8 pages, working at a fast pace. Only then will I look back to see where my hand has taken me. I notice how the lines have changed from lyrical to angular, that I put down the charcoal and started working with oil pastel, that the lines are more energetic, that the drawings are more layered and marked by pentimenti, that more of the marks have been erased or obliterated by scrapes and smears..... </span></div>
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<span style="font-family: "verdana" , sans-serif;">And with all that noticing, I attempt to understand why, for every page that holds my gaze, there are ten pages that don’t interest me at all. I look for clues to better understand why this page and not that one. I discover what my hand is telling me about the nature of the marks, the weight of the lines, the varying qualities of the field – where I seem to be heading. All of this will be useful when I am ready to put the notebook aside and start a group of capital D Drawings, whether that happens in a few weeks or a few months. <o:p></o:p></span></div>
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Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com8tag:blogger.com,1999:blog-5008393394459043474.post-22417122075554446882020-03-29T17:19:00.001-04:002020-04-20T21:12:33.959-04:00Stumbling through uncertain times by maintaining a creative practice<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<b><span style="color: blue;">It is nearly a year and a half since my last post</span></b>. </div>
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Since that time, I have lived through the decline and death of a beloved parent, but I have also rebounded in the studio with renewed vitality. A more vibrant palette has emerged in my paintings, and my drawings have moved past stillness and control and entered a space filled with spontaneity. Until a few weeks ago, I was busy in the studio, preparing for my next solo exhibit of paintings, looking forward to showing a series drawings, and starting the process of curating a group show. <o:p></o:p></div>
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<b><span style="color: blue;">But now.... everything has changed</span></b>. </div>
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We stand surrounded by uncertainty. All routines have been paused, and for far too many people what was routine will never return. <span style="font-size: 12pt;">Since there is no clear path to follow, we try to find ways to stumble through this uncertain time. We try to hold fast to what is familiar and feels safe, while allowing for the possibility / probability that there are moments when we will be in free fall. How might we regain our footing? Will we regain our footing? No one can say. For many, the uncertainty is terrifying.</span></div>
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<span style="font-size: 12pt;"><b><span style="color: blue;">As a visual artist, </span></b>I’m familiar with spending long hours in social isolation stumbling around in the studio. </span><span style="font-size: 12pt;">It is my way of getting lost so I can uncover where the work wants to take me.</span><span style="font-size: 12pt;"> Although stumbling out in the world can be perilous, stumbling in the studio is not a place that scares me.</span></div>
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<span style="font-size: 12pt;">Since it is no longer sensible or safe for me to make the daily trek to my studio, I cannot sit surrounded by my paintings and drawings to contemplate where the work is heading. Now confined to my apartment, </span><span style="font-size: 12pt;">I’ve set up a small workspace where I can draw. While I can maintain my studio practice to some extent, the changes in my workspace along with the swirling uncertainty outside have disrupted the path I was on. </span></div>
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<o:p><i><span style="color: blue;">The first 8 drawings in this post are from one notebook of approximately 70 pages. </span></i></o:p></div>
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<o:p><i><span style="color: blue;">The entire notebook (8.5 x 5.5") was completed over several hours on March 27, 2020. </span></i></o:p></div>
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<o:p><i><span style="color: blue;">The drawings are not presented in the order they appear in the notebook.</span></i></o:p></div>
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<o:p><i><span style="color: blue;">Charcoal, graphite, oil pastel. </span></i></o:p></div>
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<b><span style="color: blue;">I am stumbling as I begin drawing in my home workspace. However, I feel safe despite the uncertainty of the process. </span></b></div>
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<b><span style="color: blue;"></span></b>I have experienced this many times before, although the current circumstances are completely different. Of course, while some of the mark-making in these notebooks reflects vocabulary I have been using for the past year, there are many pages that bring me to unfamiliar places. But I feel safe because <span style="font-size: 12pt;">I know that allowing myself to get lost will help me find my way. I know that the vocabulary I have developed over decades of practice will keep me grounded, even as I may break from it. I know that I can allow myself to go into free fall because if I keep going, page after page after page, I will uncover what wants to be said in the work. I may reach that place in a few days or a few weeks, or not for several months. But I keep going because it keeps me grounded. </span></div>
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In this way, for a few hours spent in quiet isolation each day, I can take comfort surrounded by boxes of charcoal, conté crayons, and oil pastels, along with a stack of blank notebooks. It will help me stay anchored until I have no choice but to return to stumbling through the crisis we all face.</div>
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<o:p><i><span style="color: blue;">Several pages from the same notebook. </span></i></o:p></div>
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<o:p><i><span style="color: blue;">Several drawings completed in the weeks </span></i></o:p><o:p style="color: blue; font-size: 12pt;"><i>before I began working </i></o:p><i style="color: blue; font-size: 12pt;">from home in mid-March. </i></div>
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<o:p><i><span style="color: blue;">Graphite and oil pastel.</span></i></o:p></div>
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Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com0tag:blogger.com,1999:blog-5008393394459043474.post-88485119286145910282018-10-24T12:48:00.000-04:002018-10-26T08:34:44.377-04:00Explorations in Line / notes from a first-time curator<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Over many years of wandering through exhibits of contemporary work, there have been numerous group shows that leave me nodding in recognition of the wonderful conversations taking place on the gallery walls. It is so very satisfying when a curator's decisions offer me new insights into what I am looking at. But there are also occasions where I leave a gallery scratching my head, struggling </span>to understand what led to the selection of the work. While I might engage with specific works in the exhibit, I still wonder why they are hanging together. A curator's statement may help me see connections that I had missed on my own, but sometimes it is difficult to discern how what is on the walls reflects what is in the statement. </span><br />
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<span style="font-family: "verdana" , sans-serif;">That got me wondering..... <span style="font-size: small;">How do curators go about their work?</span></span><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"> Where do they start -- with the ideas or with the art? How do they move from selecting the work to exhibit to articulating a clear vision about that work? What is the role of a curator's statement? I decided to investigate, not only by speaking with artists who have curated exhibits, but by jumping in and organizing a show. For this post, I am focusing on my experience as curator of "Explorations in Line", currently on exhibit at the Garrison Art Center, NY. For anyone who has already curated exhibits, my observations are likely familiar and obvious. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY09Z5a5RD8HhHdU5ij4yeLM4TiOkRm-vpXlDx5iim6pw1XlVDQYEw_KjSxh0dgAB39DiGSecFDQiiIkMNkeLdNdDzTU71jsZcGtm_q2qV9s2FrNHrcYHPKjStX9ttPoJpGp13Y1w5cINn/s1600/Installation_Tamar_Tenesh.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="960" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY09Z5a5RD8HhHdU5ij4yeLM4TiOkRm-vpXlDx5iim6pw1XlVDQYEw_KjSxh0dgAB39DiGSecFDQiiIkMNkeLdNdDzTU71jsZcGtm_q2qV9s2FrNHrcYHPKjStX9ttPoJpGp13Y1w5cINn/s640/Installation_Tamar_Tenesh.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Drawings by Tamar Zinn (left) and photographs by Tenesh Webber (right) at the Garrison Art Center</span></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">My starting point for this exhibit was my own work, specifically the drawings about line that I've done for the past five years. I've been thinking about and making lines for quite some time.... decades actually. As a teenager doing my first figure drawings, I preferred the quick sketches -- capturing a pose in two minutes or less. What held me enthralled was the gesture, the movement of my hand to make the line. Although I did my share of thoughtfully developed studies of the figure, those drawings felt more like technical accomplishments, and as such, didn't particularly interest me once they were completed. Line as a reflection of emotion, line that captured an action, a line that was the action.... that is what I found engaging. Why not curate an exhibit around line? <i> </i></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><i>Step 1 </i></span></span><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><i><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><i>(which should have been obvious but wasn't) </i></span></span>as artist / curator: think about what interests me in my own work.</i></span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">After that, I began compiling images from artists whose work I was already familiar with that incorporated line in some significant way. Paintings, drawings, sculpture, photographs -- all readily available online, which made this initial task easy. And then I started looking, looking, looking at what I had accumulated.... and the images sorted themselves into two groups -- <i>maybe</i> and <i>no</i>. It was only at that point that I tried to understand <i>why </i>some pieces held my attention, but not others. <i>Step 2: look first, think later.</i></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUKQ0gktlvewG12vRn4TLhco5zfDO1AvePTLKNwG4gy4dDAPX16rUzPLliKBv6Jnl-xlWBIxbGnBo3936eiARaEdmcuzHMmTK2fPhhknFtFRWYtb3JR0V-_1d7HQxolxrvtZ4CnRgd0dZe/s1600/Portrait_Tamar.Jaanika.Tenesh.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="651" data-original-width="1008" height="411" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUKQ0gktlvewG12vRn4TLhco5zfDO1AvePTLKNwG4gy4dDAPX16rUzPLliKBv6Jnl-xlWBIxbGnBo3936eiARaEdmcuzHMmTK2fPhhknFtFRWYtb3JR0V-_1d7HQxolxrvtZ4CnRgd0dZe/s640/Portrait_Tamar.Jaanika.Tenesh.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Opening night: Tamar Zinn, Jaanika Peerna, and Tenesh Webber. On the wall, Jaanika Peerna<i>: Withheld,</i> and Tamar Zinn: drawings from the <i>Pavane</i> series.<i> (Photo by Harry Wilks)</i></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td></tr>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Of course, curating is about noticing. I looked at the work again and again, to see beyond my first impressions. At that point I started to write notes about what I saw, thinking about the <i>what</i>, <i>why, </i>and <i>how</i> of each artist's work, and searching for a way to articulate my observations with clarity. As the <i>maybe</i> group gradually shrank to a manageable size, I started reading. Artists' websites sometimes provided a wealth of information, sometimes not so much.</span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><i>Step 3: take notes about my observations and start reading about the artists.</i></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6NVjvpQBA3x0qzLap7wtcc2w0EKHp0n2HG87-jvN9rAjqrGmLko0Dh8b3HTpB4iSAJsiKgheWfTfxR_GdWD0slwcYQpL2BX-N31g-FQl5iC2gbs9ow6k6dEXWLUr7u_t3CKhwg6t0e2Ga/s1600/Installation_Webber_CROPPED.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="756" data-original-width="1600" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6NVjvpQBA3x0qzLap7wtcc2w0EKHp0n2HG87-jvN9rAjqrGmLko0Dh8b3HTpB4iSAJsiKgheWfTfxR_GdWD0slwcYQpL2BX-N31g-FQl5iC2gbs9ow6k6dEXWLUr7u_t3CKhwg6t0e2Ga/s640/Installation_Webber_CROPPED.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photographs by Tenesh Webber. (<i>For complete image information, see below</i>)</td></tr>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">At that point, I felt it was time to think about different iterations of an exhibit about line. What if there were 3-4 artists, whose work would I select? What would be the premise of that show? What if the exhibit included work by as many as 7-8 artists? How would that shape the focus of the show? I decided on a show with fewer artists, which would allow for multiple pieces from each artist. I also began to discuss my plans to curate a show with several close artist friends whom I could rely on for meaningful feedback. With their help, I made the final selection of artists for my first venture as curator<i>.</i> <i>Step 4: select the artists and narrow the focus. </i></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0xf99SU4HP1KxvyRuQK-Ac9hrRPb8usMQe-SxPO355X4mN8dSjLpM84Ij_pa7i_lqDYevuUtT4W9BhiM0eDdMWYUYAhiwsleUt5KfW5j5ZXWYrlSh34hvzS4F9TdK00eteLt4UssT2EbV/s1600/Peerna_Drooplines+side+view.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="964" data-original-width="552" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0xf99SU4HP1KxvyRuQK-Ac9hrRPb8usMQe-SxPO355X4mN8dSjLpM84Ij_pa7i_lqDYevuUtT4W9BhiM0eDdMWYUYAhiwsleUt5KfW5j5ZXWYrlSh34hvzS4F9TdK00eteLt4UssT2EbV/s400/Peerna_Drooplines+side+view.jpg" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Jaanika Peerna, <i>Drooplines</i>, 2017, graphite and colored pencil on hand-cut mylar, magnets, 24x7x8" (<i>photo courtesy of Jaanika Peerna</i>)</span></td></tr>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">After contacting the artists and confirming their interest in the exhibit, I began to write, as well as consider possible venues. </span></span><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">I was lucky that I did not have to do a lot of research to find a venue, because </span></span>a friend let me know about an upcoming deadline to submit proposals to the Garrison Art Center. That meant that the language for the proposal would have to come together very quickly. Fortunately, the notes I had already written provided a framework for the proposal, and I had already gathered images to include. Proposal submitted, it was now time to wait. </span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><i>Step 5: seek out venues and write a proposal.</i></span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">A few months after submitting the proposal, I received word that it had been accepted and that the exhibition would take place a year later. That gave me more than enough time to study the floor plan for the space, print out scaled images to tape onto a model, arrange, re-arrange, and arrange once again. </span></span><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">I was already familiar with the gallery space, but I visited once again to try and picture the work in the space.</span></span> Since I had already seen Tenesh Webber's photographs on exhibit, and I was certain of which work I wanted to include, I made my selection from her website. I had also seen Jaanika Peerna's work on exhibit and had made a preliminary selection, but decided to do a studio visit so I could see additional work. As it turned out, I ultimately went with my initial selection for Jaanika's work as well. </span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><i>Step 6: make the final selection of works, and lay out the exhibition. </i></span></span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2lGgfG7WMIWYHy7dB2Z15ka3pRlTvzExukM04PIpfeQkOeTfM51ELo-Cjnj0XB5iQew7gNjpKVOa6ore2NVdd2b2nkazp2MV7LdzoV-z4-pHeG4rrcUjlEjhH7l1uJpgwevewMUVgb_pc/s1600/Jaanika_Withheld_smaller.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1258" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2lGgfG7WMIWYHy7dB2Z15ka3pRlTvzExukM04PIpfeQkOeTfM51ELo-Cjnj0XB5iQew7gNjpKVOa6ore2NVdd2b2nkazp2MV7LdzoV-z4-pHeG4rrcUjlEjhH7l1uJpgwevewMUVgb_pc/s640/Jaanika_Withheld_smaller.jpg" width="406" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">Jaanika Peerna, <i>Withheld</i>, 2017, water soluble pigment</span></span><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;"> on hand-cut mylar, magnets, 88x17x7"</span> (<i>photo courtesy of Jaanika Peerna</i>)</span></span></td></tr>
</tbody></table>
<br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">With the work selected, what remained was for me the most challenging part -- writing a curator's statement that would be meaningful for me and be useful for viewers. I had read many superb statements that enhanced my understanding of the exhibits, as well as many that left me mystified. The language that would shape my statement came slowly and went through many, many, many iterations. Once again, I was fortunate to have an artist friend (who is also a superb editor) give me feedback in crafting the statement.</span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><i>Step 7: write the curator's statement</i></span></span><br />
<br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><i>These are the opening paragraphs of my curator's statement: </i></span></span><br />
<br />
<div class="Body" style="line-height: 115%; margin-bottom: 5.0pt; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>“<b><i>Explorations in Line</i></b>” </span><span style="color: windowtext; font-size: 11.0pt; line-height: 115%;">highlights</span><span style="color: red; font-size: 11.0pt; line-height: 115%;"> </span><span style="font-size: 11.0pt; line-height: 115%;">the vital role of line in the work of
three contemporary abstract artists. Working in sculpture, photography, and
drawing, <b>Jaanika Peerna</b>, <b>Tenesh Webber</b>, and </span><b><span lang="DE" style="font-size: 11.0pt; line-height: 115%; mso-ansi-language: DE;">Tamar
Zinn</span></b><span style="font-size: 11.0pt; line-height: 115%;"> use line as a
thing unto itself, an embodiment of thought and sensation, rather than as a
means to depict form. Having chosen to make line central to their work, all
three artists employ a stripped-down, largely monochromatic palette. By
limiting the palette primarily to black and white, with occasional hints of
other colors, the artists allow viewers to immerse themselves more fully in all
that their lines </span><span style="color: windowtext; font-size: 11.0pt; line-height: 115%;">express</span><span style="font-size: 11.0pt; line-height: 115%;">.
For these artists a line may manifest breath, communicate movement, embody
emotion, or reflect natural phenomena. In <b><i>“Explorations in Line,”</i></b>
some lines declare themselves soloists, while others</span><span lang="FR" style="font-size: 11.0pt; line-height: 115%; mso-ansi-language: FR;"> dance </span><span style="font-size: 11.0pt; line-height: 115%;">–- and sometimes wrestle –- with one
another. These lines transform the space they inhabit and shape how we perceive
that space. Peerna’s dimensional use of cut mylar gives her lines a palpable
physical presence, </span><span lang="IT" style="font-size: 11.0pt; line-height: 115%; mso-ansi-language: IT;">Webber</span><span style="font-size: 11.0pt; line-height: 115%;">’s threadlines leave their trace on exposed photographic
paper, while Zinn's paired lines are gently embedded in indeterminate space.
Each artist’s line is deeply personal, not only in what it conveys, but in the
nature of its making. </span></span></div>
<div class="Body" style="line-height: 115%; margin-bottom: 5.0pt; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 11.0pt; line-height: 115%;">The exhibit offers viewers the
opportunity to observe the artists’ conscious decisions about a line's
direction, weight, and speed. Peerna’s lines, which begin as strong verticals
drawn on a flat plane, transform when the drawing is shaped into sculpture. The
repeated translucent lines curve, loop, and fold back on themselves, seemingly
without beginning or end. </span><span lang="IT" style="font-size: 11.0pt; line-height: 115%; mso-ansi-language: IT;">Webber</span><span style="font-size: 11.0pt; line-height: 115%;">’s delicate lines meander across a black field and present
as a grid on a photographic image. Although periodically disrupted, the fragile
networks of lines are seemingly held in place. Zinn's dark lines move leisurely
across an atmospheric field, but their weight imbues them with conviction, as
well as suggesting that they continue on beyond the field’s edge. While
Peerna's lines are drawn using spontaneous full-body movements, Zinn rehearses
her gestures in the air in anticipation of marking each pair of lines on the
paper, and Webber incorporates chance actions into her arrays. </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 11.0pt; line-height: 115%;"> <span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><i> </i></span></span></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><i>The complete curator's statement is below (after the exhibit images), and also provides information the intention and process of each artist.</i></span></span> </span></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid0sOMejSM3ubFKGA7CYC3WQuda29loX37bnHVQ3eUYmA5EXMie1YsnfmPgrSOPHatdIXDqTu6VG7INvqV3OlrBnmWc1xPQxapBr-5TZtg2wSmjMMfKW-wyFwvVzW1ZF_juayJdz6smPh0/s1600/%25E2%2588%259AWebber+Clear+View+2+2016+20x20.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1240" data-original-width="1240" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid0sOMejSM3ubFKGA7CYC3WQuda29loX37bnHVQ3eUYmA5EXMie1YsnfmPgrSOPHatdIXDqTu6VG7INvqV3OlrBnmWc1xPQxapBr-5TZtg2wSmjMMfKW-wyFwvVzW1ZF_juayJdz6smPh0/s400/%25E2%2588%259AWebber+Clear+View+2+2016+20x20.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Tenesh Webber, <i>Clear View 2, </i>2016, silver gelatin print, 20x20"<br /><i></i></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><br /></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><br /></span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje5v1b2Q7o29gTcmk5TN1a8rWqroTykHq5ISP14fAyqOS7zVoxgZzofh516asZv-j8DBFwYvbd8PKM02WXSk0Wyw85YHPOSMlGHyp_qe48qU2R_fEv2tMq1HJwhXjYLuidI4InMJ10UOlz/s1600/%25E2%2588%259AWebber_Loose+String+1+20%2522x20%2522+2013+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="792" data-original-width="792" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje5v1b2Q7o29gTcmk5TN1a8rWqroTykHq5ISP14fAyqOS7zVoxgZzofh516asZv-j8DBFwYvbd8PKM02WXSk0Wyw85YHPOSMlGHyp_qe48qU2R_fEv2tMq1HJwhXjYLuidI4InMJ10UOlz/s400/%25E2%2588%259AWebber_Loose+String+1+20%2522x20%2522+2013+.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Tenesh Webber, </span><span style="font-family: "verdana" , sans-serif;"><i>Loose String 1, </i>2013, silver gelatin print, 20x20"</span></td></tr>
</tbody></table>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><i><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0tLqONwkwEtBoH8KJvkX2viGrhP4JNXYlHm_yfSMMZgJAtgU4nG6QF4ygkHCLnaQXyegDrTqHXsIvJhwOZiQN_KGNYjr_QJlXl4r63i5Vnn-Y1l-pRYUEq4GnKDTL7vXGW_eRdwWONv4O/s1600/%25E2%2588%259AWebber+Lift+Version+2+11x11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="792" data-original-width="792" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0tLqONwkwEtBoH8KJvkX2viGrhP4JNXYlHm_yfSMMZgJAtgU4nG6QF4ygkHCLnaQXyegDrTqHXsIvJhwOZiQN_KGNYjr_QJlXl4r63i5Vnn-Y1l-pRYUEq4GnKDTL7vXGW_eRdwWONv4O/s400/%25E2%2588%259AWebber+Lift+Version+2+11x11.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Tenesh Webber, <i>Lift</i></span><span style="font-family: "verdana" , sans-serif;"><i> Version 2, </i>2015, silver gelatin print, 11x11"</span></td></tr>
</tbody></table>
</i></span></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYspTd_xZRMr7Se6eh_ZShB4gvsCmYp3y5H93btlLyiGnJXQTL7FzlBqGnPRjbArLwAi556C9aotig-4gfCqWDtmMl6rbQUpxxZoMTUosFz0oQW3Asje5qEfkoh1jRfI5V8Q3EtrQzyeT0/s1600/%25E2%2588%259AWebber+Loops+1+2015+11x11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1240" data-original-width="1236" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYspTd_xZRMr7Se6eh_ZShB4gvsCmYp3y5H93btlLyiGnJXQTL7FzlBqGnPRjbArLwAi556C9aotig-4gfCqWDtmMl6rbQUpxxZoMTUosFz0oQW3Asje5qEfkoh1jRfI5V8Q3EtrQzyeT0/s400/%25E2%2588%259AWebber+Loops+1+2015+11x11.jpg" width="397" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Tenesh Webber, </span><span style="font-family: "verdana" , sans-serif;"><i>Loops 1, </i>2015, silver gelatin print, </span>11x11"</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyZ9lV1llfqbrQW02_sZvP9yqqWRrrC9UJdaJNmRcIYcWjEPVS1MQ6f_8J3O1qz4Yj-0RUdHYwMJCEcFgeyu1fBVpakHqNjX9A7ZPqItcX9EsqZ_Wugj6x0dEktaGjGVtvRjO65pUcq3GU/s1600/%25E2%2588%259AWebber+Quake+2015+11x11+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1240" data-original-width="1240" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyZ9lV1llfqbrQW02_sZvP9yqqWRrrC9UJdaJNmRcIYcWjEPVS1MQ6f_8J3O1qz4Yj-0RUdHYwMJCEcFgeyu1fBVpakHqNjX9A7ZPqItcX9EsqZ_Wugj6x0dEktaGjGVtvRjO65pUcq3GU/s400/%25E2%2588%259AWebber+Quake+2015+11x11+.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Tenesh Webber, </span><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"><i><span style="font-family: "verdana" , sans-serif;"><i>Quake, </i></span></i><span style="font-family: "verdana" , sans-serif;">2015, silver gelatin print, </span>11x11"</span></span></span></td></tr>
</tbody></table>
<br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><br /></span></span><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">Of course, if you plan an exhibit, people have to know about it. So I started planning the publicity, and limited it to social media and an email blast. Next up was the installation. Although I had made a detailed layout for the exhibit, I had no prior experience actually hanging a show. I was fortunate that the gallery coordinator at Garrison Art Center, Samantha Palmieri, took over that task after we arranged the work in the gallery. It was thrilling to see what I had envisioned less than 18 months earlier come together in the space. It was everything I had imagined, and even better.</span></span><br />
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><i><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><i>Step 8: start the PR work for the show </i></span></span></i></span></span><br />
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><i>Step 9: deliver the work and install the show</i></span></span><br />
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><i><br /></i></span></span>
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">My first experience curating an exhibit has all been positive -- I had support from friends, worked with artists who came through reliably, and gallery staff that was professional. I know it won't always go this smoothly, but I'm ready for the next step.</span></span><br />
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><i>Step 10: start thinking about the next exhibit.</i></span></span><br />
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><br /></span></span>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQZMOl-MJjlWrvZ9XohYrxNUDV0aGwwgltBHUCH653pi6npOoV6m6AKTMVMWeecVo6Fv-wdiyNI6IYGYcqiHE7TgLSdVkHK-19frZkIN97Ox4jCaUR5n0tlZpYd0KFsOouh_bk3FiJt1gB/s1600/Zinn_Pavanne26_smaller.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1340" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQZMOl-MJjlWrvZ9XohYrxNUDV0aGwwgltBHUCH653pi6npOoV6m6AKTMVMWeecVo6Fv-wdiyNI6IYGYcqiHE7TgLSdVkHK-19frZkIN97Ox4jCaUR5n0tlZpYd0KFsOouh_bk3FiJt1gB/s400/Zinn_Pavanne26_smaller.jpg" width="238" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Tamar Zinn, <i>Pavane 26</i>, 2017, pigmented charcoal and conte crayon on paper, 16x9"</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3ZofbYhJkDA_1myyLUiT3EL548oL4Kx8w0-Z_i0v4ecAv-5-_UPIM8XXLJLRKIBWHGs6fZoxPafwZ8ckJLgv8MFFwVjRsR8JH8yNq9B18FKzDDL5w_1GNPKoYgwT1z6hRN9tgP8FNazOy/s1600/Zinn_Pavanne18_smaller.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1353" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3ZofbYhJkDA_1myyLUiT3EL548oL4Kx8w0-Z_i0v4ecAv-5-_UPIM8XXLJLRKIBWHGs6fZoxPafwZ8ckJLgv8MFFwVjRsR8JH8yNq9B18FKzDDL5w_1GNPKoYgwT1z6hRN9tgP8FNazOy/s400/Zinn_Pavanne18_smaller.jpg" width="236" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Tamar Zinn, <i>Pavane 18</i>, 2017, pigmented charcoal and conte crayon on paper, 16x9"</span></td></tr>
</tbody></table>
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOH_Ui6Lh-T1OhGmW3zXgbvvEA4_NW2ex_r-ByxWA_b4KLC9jdRDnLxe40TCVC1VfXdYMrFR8VzF2zyLpZs9m6jhuzdMm76vPwFLOcVmo_C4vc1K0NCwSmmflfx5QD-Ybi8BTwbU3twOfJ/s1600/Zinn_Pavanne41_smaller.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1349" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOH_Ui6Lh-T1OhGmW3zXgbvvEA4_NW2ex_r-ByxWA_b4KLC9jdRDnLxe40TCVC1VfXdYMrFR8VzF2zyLpZs9m6jhuzdMm76vPwFLOcVmo_C4vc1K0NCwSmmflfx5QD-Ybi8BTwbU3twOfJ/s400/Zinn_Pavanne41_smaller.jpg" width="236" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Tamar Zinn, <i>Pavane 41</i>, 2017, pigmented charcoal and conte crayon on paper, 16x9"</span></td></tr>
</tbody></table>
</span></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikGt-2B4NOkyFZDR4yyPiPaHwXsCWT1S1H27IdfypXWliEe0Jk2AGahlNlAjgLPbixl5OXqTPdINM51Gi_tM2SsNwX_C5gO4UD95MRjHdQD0wjZ9prfSGFeQSW4wKwj-B8XbC9EKW3grNH/s1600/Zinn_Pavanne30_smaller.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1350" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikGt-2B4NOkyFZDR4yyPiPaHwXsCWT1S1H27IdfypXWliEe0Jk2AGahlNlAjgLPbixl5OXqTPdINM51Gi_tM2SsNwX_C5gO4UD95MRjHdQD0wjZ9prfSGFeQSW4wKwj-B8XbC9EKW3grNH/s400/Zinn_Pavanne30_smaller.jpg" width="236" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Tamar Zinn, <i>Pavane 30</i>, 2017, pigmented charcoal and conte crayon on paper, 16x9"</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUwT-vg4nYzVphhamWM_0jJ7Hd2HYd_K2nXOF1aTul2qDYbEKZ3tSK2-P8FgiwV1_4He8Hwsq8FeGrixa5qgjzDKFbYvAuymvRhOvrKNBS2YkTTso62OZfzcOrORRQPz-cb3a_lOlxgp3K/s1600/Zinn_Pavanne21_smaller.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1351" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUwT-vg4nYzVphhamWM_0jJ7Hd2HYd_K2nXOF1aTul2qDYbEKZ3tSK2-P8FgiwV1_4He8Hwsq8FeGrixa5qgjzDKFbYvAuymvRhOvrKNBS2YkTTso62OZfzcOrORRQPz-cb3a_lOlxgp3K/s400/Zinn_Pavanne21_smaller.jpg" width="236" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Tamar Zinn, <i>Pavane 21</i>, 2017, pigmented charcoal and conte crayon on paper, 1x9"</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNi2deVPcPr_ucJr2APVJ6LSKkUpjRX4U3ievUjVYL7IrUcxCE8mbZwQTQr-4ebl2Xfv-nsqcCfTgg6C3t4y0sz_TyRw-GLMhpeZo23uwdAmmWR-hLiJLx8jY7sof0l-b7Fcxn4q9xSxeB/s1600/Zinn_Pavanne13_smaller.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1351" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNi2deVPcPr_ucJr2APVJ6LSKkUpjRX4U3ievUjVYL7IrUcxCE8mbZwQTQr-4ebl2Xfv-nsqcCfTgg6C3t4y0sz_TyRw-GLMhpeZo23uwdAmmWR-hLiJLx8jY7sof0l-b7Fcxn4q9xSxeB/s400/Zinn_Pavanne13_smaller.jpg" width="236" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Tamar Zinn, <i>Pavane 13</i>, 2017, pigmented charcoal and conte crayon on paper, 16x9"</span></td></tr>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">My curator's statement: </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"> </span></span>
</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>“<b><i>Explorations in Line</i></b>” </span><span style="color: windowtext; font-size: 11.0pt; line-height: 115%;">highlights</span><span style="color: red; font-size: 11.0pt; line-height: 115%;"> </span><span style="font-size: 11.0pt; line-height: 115%;">the vital role of line in the work of
three contemporary abstract artists. Working in sculpture, photography, and
drawing, <b>Jaanika Peerna</b>, <b>Tenesh Webber</b>, and </span><b><span lang="DE" style="font-size: 11.0pt; line-height: 115%; mso-ansi-language: DE;">Tamar
Zinn</span></b><span style="font-size: 11.0pt; line-height: 115%;"> use line as a
thing unto itself, an embodiment of thought and sensation, rather than as a
means to depict form. Having chosen to make line central to their work, all
three artists employ a stripped-down, largely monochromatic palette. By
limiting the palette primarily to black and white, with occasional hints of
other colors, the artists allow viewers to immerse themselves more fully in all
that their lines </span><span style="color: windowtext; font-size: 11.0pt; line-height: 115%;">express</span><span style="font-size: 11.0pt; line-height: 115%;">.
For these artists a line may manifest breath, communicate movement, embody
emotion, or reflect natural phenomena. In <b><i>“Explorations in Line,”</i></b>
some lines declare themselves soloists, while others</span><span lang="FR" style="font-size: 11.0pt; line-height: 115%; mso-ansi-language: FR;"> dance </span><span style="font-size: 11.0pt; line-height: 115%;">–- and sometimes wrestle –- with one
another. These lines transform the space they inhabit and shape how we perceive
that space. Peerna’s dimensional use of cut mylar gives her lines a palpable
physical presence, </span><span lang="IT" style="font-size: 11.0pt; line-height: 115%; mso-ansi-language: IT;">Webber</span><span style="font-size: 11.0pt; line-height: 115%;">’s threadlines leave their trace on exposed photographic
paper, while Zinn's paired lines are gently embedded in indeterminate space.
Each artist’s line is deeply personal, not only in what it conveys, but in the
nature of its making. </span></span></div>
<div class="Body" style="line-height: 115%; margin-bottom: 5.0pt; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 11.0pt; line-height: 115%;">The exhibit offers viewers the
opportunity to observe the artists’ conscious decisions about a line's
direction, weight, and speed. Peerna’s lines, which begin as strong verticals
drawn on a flat plane, transform when the drawing is shaped into sculpture. The
repeated translucent lines curve, loop, and fold back on themselves, seemingly
without beginning or end. </span><span lang="IT" style="font-size: 11.0pt; line-height: 115%; mso-ansi-language: IT;">Webber</span><span style="font-size: 11.0pt; line-height: 115%;">’s delicate lines meander across a black field and present
as a grid on a photographic image. Although periodically disrupted, the fragile
networks of lines are seemingly held in place. Zinn's dark lines move leisurely
across an atmospheric field, but their weight imbues them with conviction, as
well as suggesting that they continue on beyond the field’s edge. While
Peerna's lines are drawn using spontaneous full-body movements, Zinn rehearses
her gestures in the air in anticipation of marking each pair of lines on the
paper, and Webber incorporates chance actions into her arrays. </span></span></div>
<div class="Body" style="line-height: 115%; margin-bottom: 5.0pt;">
<span style="font-family: "times" , "times new roman" , serif;"><b><span style="color: blue; font-size: 11.0pt; line-height: 115%;"> </span></b><b><span style="font-size: 11.0pt; line-height: 115%;">Jaanika Peerna</span></b><span style="font-size: 11.0pt; line-height: 115%;">’s<b> </b>sculpture is a direct
response to natural phenomena of light, air, and water. Peerna begins by
drawing lines on frosted Mylar with a series of vigorous, physical movements,
then alters the lines by sweeping across them with a damp, oversized brush. She
then systemically slices across the drawn lines, creating a series of parallel
strips that she subsequently </span><span lang="NL" style="font-size: 11.0pt; line-height: 115%; mso-ansi-language: NL;">shape</span><span style="font-size: 11.0pt; line-height: 115%;">s into three-dimensional forms. As the sculpture responds to
the forces of gravity, the lines droop, bend and flow. Her lines become the
space, rather than merely inhabiting it. Peerna’s sculptures are further
transformed by light and shadow, as well as by the changing position of the
viewer. For Peerna, each piece is a manifestation of flux—ever changing, never
static. </span></span></div>
<div class="Body" style="line-height: 115%; margin-bottom: 5.0pt; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 11.0pt; line-height: 115%;">In the work of <b>Tenesh</b> <b>Webber</b>,
the interplay between technical control and chance manipulations is a central
element. Working within a minimalist sensibility and aligned with
improvisational abstraction, Webber takes the controlled structure of the grid as
a starting point and then allows unplanned operations to direct the outcome.
Using a process that blurs the boundaries among sculpture, drawing, and
photography, Webber<b> </b>manipulates<b> </b>and layers<b> </b>Japanese
beading thread to create a grid, which is then placed onto photographic paper
and exposed to light. In the resulting image, called a photogram, white lines
are set against a seemingly endless black field. Although the image is fixed,
the disruption to the network of </span><span lang="FR" style="font-size: 11.0pt; line-height: 115%; mso-ansi-language: FR;">filaments</span><span style="font-size: 11.0pt; line-height: 115%;"> creates a sense of impermanence, of structures
distorted, but unbroken.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><b><span lang="DE" style="font-size: 11.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Tamar Zinn</span></b><span style="font-size: 11.0pt; line-height: 115%;">’s drawings are
rooted in her deeply </span><span lang="FR" style="font-size: 11.0pt; line-height: 115%;">emotional connections </span><span style="font-size: 11.0pt; line-height: 115%;">to both classical
music and modern dance. Recollections of intertwining lines of music prompt a
sensory response, which she transforms into a lyrical duet of gestures. Zinn
begins by creating an atmospheric field, <span style="mso-bidi-font-weight: bold;">methodically</span> rubbing layers of pigmented charcoal into the fibers
of the paper. As she readies herself to draw the lines, auditory memories couple
with movements of her arm above the paper. She captures the speed and shape of
those movements by drawing the lines and then gently merging them into the
field. Once drawn, the lines cannot be altered, making her process at once
meditative and filled with risk. <span style="mso-spacerun: yes;"> </span></span></span><span style="font-family: "calibri"; font-size: 11.0pt; line-height: 115%;"><span style="font-family: "times" , "times new roman" , serif;"><span style="mso-spacerun: yes;"> </span></span></span><br />
<br />
<span style="font-family: "calibri"; font-size: 11.0pt; line-height: 115%;"><span style="font-family: "times" , "times new roman" , serif;"><span style="mso-spacerun: yes;"> <span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">Photos from the installation</span></span></span></span></span><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">:</span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj03ijhPnXGqqBSNJvYLCR9Tg4WnbLhspNwJO3UeNhudg2FrYCVfBExkD9o0Pf6vjlx7yVY4jeM3hrM1VrZARmc6crInhWi-4D4k6Vviw32726S2mM_7VwFAdikNep63VURKIPEdk0MIg8_/s1600/JP+Install+at+GAC.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1157" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj03ijhPnXGqqBSNJvYLCR9Tg4WnbLhspNwJO3UeNhudg2FrYCVfBExkD9o0Pf6vjlx7yVY4jeM3hrM1VrZARmc6crInhWi-4D4k6Vviw32726S2mM_7VwFAdikNep63VURKIPEdk0MIg8_/s400/JP+Install+at+GAC.jpg" width="288" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">Jaanika Peerna installing <i>Withheld</i>. </span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Uso1Ak449ET0ISEdOczCWZ77K6hPnmjvS57AB17FC9O1SHaqLneVRbjWnntpvS0DAXt_8L3GBiM2kzsayYj8bAV2JgRJw3sZJziEsVw36BM8IoIn2Il8FhOp8Zdy4jzqDUsFENtguC9I/s1600/%252334+Tamar+%2526+Jaanika.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="672" data-original-width="1008" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Uso1Ak449ET0ISEdOczCWZ77K6hPnmjvS57AB17FC9O1SHaqLneVRbjWnntpvS0DAXt_8L3GBiM2kzsayYj8bAV2JgRJw3sZJziEsVw36BM8IoIn2Il8FhOp8Zdy4jzqDUsFENtguC9I/s400/%252334+Tamar+%2526+Jaanika.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Tamar Zinn and Jaanika Peerna (photo by Harry Wilks)</span></td></tr>
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</style><br />Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com0tag:blogger.com,1999:blog-5008393394459043474.post-85938259739473928592018-01-13T11:19:00.001-05:002018-01-14T10:00:38.000-05:00Beyond Black and White @ Westbeth Gallery<span style="color: #666666;"><b><span style="font-family: "verdana" , sans-serif;">In a natural world that is resplendent with color, why do so many artists produce extensive bodies of work limited to a palette of black and white? And why does this work exert such a powerful hold on our gaze?</span></b></span><br />
<br />
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<span style="font-family: "verdana" , sans-serif;">Over the past year, there have been many exhibits focused on black and white paintings and works on paper. A brief list includes a current exhibition at The National Gallery in London, <a href="https://www.nationalgallery.org.uk/whats-on/exhibitions/monochrome-painting-in-black-and-white" target="_blank"><span style="color: blue;"><b>Monochrome: Painting in Black and White</b></span></a> (both abstraction and figurative work from Rembrandt to Richter); a 2017 exhibit at The Tampa Museum of Art titled <a href="http://tampamuseum.org/exhibition/alex-katz-black-white/" target="_blank"><span style="color: blue;"><b>Alex Katz: Black and White</b></span></a>; and an exhibit of exquisite black and white drawings and paintings by <a href="http://www.danesecorey.com/artists/dozier-bell?view=slider#2" target="_blank"><span style="color: blue;"><b>Dozier Bell</b></span></a> at Danese Corey in New York. I recently posted about a 2017 exhibit at the Curator Gallery in New York, <a href="http://tamarzinn.blogspot.com/2017/10/almost-black-and-white-curator-gallery.html" target="_blank"><span style="color: blue;"><b>Almost Black and White</b></span></a>. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6FI2LCx3ru9wxTCs8-03dGU-vExlC58ArwNE6eGCP-Jgw2zOi545aAXTK3k-5okCSCVF-XPbNDoU-_t4Zud65RfN67MYxz6I21fz1Abr1KnZWdjTwk_uUgn59wA0dlDjGQ9L3av1cs67A/s1600/CrisGianakos_SharonBrant.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="675" data-original-width="1500" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6FI2LCx3ru9wxTCs8-03dGU-vExlC58ArwNE6eGCP-Jgw2zOi545aAXTK3k-5okCSCVF-XPbNDoU-_t4Zud65RfN67MYxz6I21fz1Abr1KnZWdjTwk_uUgn59wA0dlDjGQ9L3av1cs67A/s640/CrisGianakos_SharonBrant.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Cris Gianakos (left) and Sharon Brant (right)</span></span></td></tr>
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</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="color: #666666;"><b>2018 begins with yet another exhibit devoted to painting in black and white</b>,</span> <a href="http://westbeth.org/wordpress/beyond-black-and-white/" target="_blank"><span style="color: blue;"><b>Beyond Black and White</b></span></a> at Westbeth Gallery in NY. This
is a large group exhibit of black and white abstraction by 38 artists. It
includes work that demonstrates a variety of preoccupations -- paintings that are seductively austere,
others that are intricately patterned, and still other paintings that focus on materiality. Curated by Li Trincere and Henry Brown, the exhibit
offers a glimpse of the richness that is possible within the parameters
of working in black and white. </span><br />
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<tr><td style="text-align: center;"><img border="0" data-original-height="1260" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcRkd9zdb7TDGzlLFBdo_zQocwMCRGX3uz6czSXJWwD4WA6iGxQG8Jd7TqKa3QC3EnvMKMFeJfuIMzGYovvNvp7F7ce9wvF43dZR2fIMT5tH1PyzFALn2a1qhH9mOtX9tFfO3LTPoiSj7_/s400/MichaelScott.jpg" style="margin-left: auto; margin-right: auto;" width="380" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Michael Scott</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdc89oOsowC6UQ-VkYu8pSL3GlvEpMVrCIHk9VTCoG6q1Ol-KdyJwI6-9qUgr2APUV3pKZvqKWJNhQOKb-1KZf1s18Gb40-b0oqFJkK-_-Cf8CdAapQXAqE0zBh_j5JaD8r4va0gxTMFK-/s1600/KenWade.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1348" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdc89oOsowC6UQ-VkYu8pSL3GlvEpMVrCIHk9VTCoG6q1Ol-KdyJwI6-9qUgr2APUV3pKZvqKWJNhQOKb-1KZf1s18Gb40-b0oqFJkK-_-Cf8CdAapQXAqE0zBh_j5JaD8r4va0gxTMFK-/s400/KenWade.jpg" width="355" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Ken Wade</span></span></td></tr>
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<span style="font-family: "verdana" , sans-serif;">As I've written previously on this blog (<a href="http://tamarzinn.blogspot.com/2017/10/almost-black-and-white-curator-gallery.html" target="_blank">Almost Black and White</a>, <a href="http://tamarzinn.blogspot.com/2013/03/painting-in-black-and-white.html" target="_blank">Painting in Black and White</a>), rather than being restrictive, working with black and white can open up a world rich with possibilities for visual artists. Although the phrase 'black and white' sounds direct and clear, there is nothing simple about the decision to work in black and white.</span><br />
<br />
<span style="font-family: "verdana" , sans-serif;">Black isn't merely black, and white isn't just white -- either hue can be cool or warm, flat or expansive. The painted surface may be matte, reflective, chalky, silky smooth or coarsely pitted. For some of these artists, working with black and white will also mean exploring the vast arena of grays. Without the inevitable and often unwanted associations that accompany a more expansive palette, a painter is free to concentrate more fully on preoccupations with form and geometry, pattern and surface. </span><br />
<br />
<span style="font-family: "verdana" , sans-serif;">This post includes a selection of the 38 paintings on exhibit. The show is up through January 27th at Westbeth Gallery, 55 Bethune Street, New York. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLxrgmXN15mEyIK1Rutgr0BEOOZvr5g3_oEV1_djfoEIsoTwkwW1UCaSRRXK22WJMUNAeBHxikez3-6zFPhI1Pr0vpFuxWTmrPNvmMMGNz67aU4nJPzoHsYQVGp3agTbVc-dVD2xO8DzAP/s1600/IvoRinge.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1455" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLxrgmXN15mEyIK1Rutgr0BEOOZvr5g3_oEV1_djfoEIsoTwkwW1UCaSRRXK22WJMUNAeBHxikez3-6zFPhI1Pr0vpFuxWTmrPNvmMMGNz67aU4nJPzoHsYQVGp3agTbVc-dVD2xO8DzAP/s400/IvoRinge.jpg" width="328" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Ivo Ringe</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_FRblpfEvT8ZtwSi6i3l2kYwSHkDdvumkEZtq3JQgyDhkdQYf_DpneDr5G6yAuyE6BAVwLTRiKl4oBRPLICeS1JUoWJtht9Wwzti77WfDzZjge3pY74r77FcygFRYmgyQCRKvoNdYysM3/s1600/KarenSchifano.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1157" data-original-width="1200" height="616" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_FRblpfEvT8ZtwSi6i3l2kYwSHkDdvumkEZtq3JQgyDhkdQYf_DpneDr5G6yAuyE6BAVwLTRiKl4oBRPLICeS1JUoWJtht9Wwzti77WfDzZjge3pY74r77FcygFRYmgyQCRKvoNdYysM3/s640/KarenSchifano.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Karen Schifano</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGMaRo7yJQqqdTEwNqBNkiaKQzM90X4l7-SvgCXK0jgaR5fVzfjV1KLo06BFU2DEzx1dyrn9aw9XW4qLeXJx1QXs57XPq-j62Yp8FNhYSBnTWZcaVx3ncIuikuFp-bfjbufQkKiuBS0Kqp/s1600/KimUchiyama_charcoal.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1441" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGMaRo7yJQqqdTEwNqBNkiaKQzM90X4l7-SvgCXK0jgaR5fVzfjV1KLo06BFU2DEzx1dyrn9aw9XW4qLeXJx1QXs57XPq-j62Yp8FNhYSBnTWZcaVx3ncIuikuFp-bfjbufQkKiuBS0Kqp/s400/KimUchiyama_charcoal.jpg" width="332" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Kim Uchiyama </span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBrMqAN9ukycYm4t0Oa-qxkisEz9E4pl9g13JYWEPrJRHRT_usGqCoiHOw3Hn0OpuJgkXqu831Rg_0V89HLaV-CT-OQ4D22YSL31ZTMFvCSBfMELzlJNjrpjahcTtSdvX_qiSs70S1UksO/s1600/MarkWilliams.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1568" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBrMqAN9ukycYm4t0Oa-qxkisEz9E4pl9g13JYWEPrJRHRT_usGqCoiHOw3Hn0OpuJgkXqu831Rg_0V89HLaV-CT-OQ4D22YSL31ZTMFvCSBfMELzlJNjrpjahcTtSdvX_qiSs70S1UksO/s640/MarkWilliams.jpg" width="488" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Mark Williams</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhba4xqP1injLRxeiXvOLIC-RA5RPY5Urp7OFkxVnQGxumlI7AO6EnMvH5VJihSfEElqOKclHklP5yreZThuo6QnjgYdI1X0_sstqfvCglkFSIrRcakApevaxq1YhyoUWZ7LH2Xi1PT8Ch6/s1600/DouglasWitmer.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1532" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhba4xqP1injLRxeiXvOLIC-RA5RPY5Urp7OFkxVnQGxumlI7AO6EnMvH5VJihSfEElqOKclHklP5yreZThuo6QnjgYdI1X0_sstqfvCglkFSIrRcakApevaxq1YhyoUWZ7LH2Xi1PT8Ch6/s640/DouglasWitmer.jpg" width="499" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Douglas Witmer</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd3skNDYdljgo9a5i5F3QAFtD_YDHNbCwIJ3mN7uG6qkZyQ82NRAAmSv5rNzXDP34gPkV71YhWrKhTKMQTTAiO4TuemVOaotLIbs486VTP-Dn0JL5QJIUDRyoPmjxetKt1rn8JZJKDUB-8/s1600/LisaBeck_enamelonmirror.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1243" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd3skNDYdljgo9a5i5F3QAFtD_YDHNbCwIJ3mN7uG6qkZyQ82NRAAmSv5rNzXDP34gPkV71YhWrKhTKMQTTAiO4TuemVOaotLIbs486VTP-Dn0JL5QJIUDRyoPmjxetKt1rn8JZJKDUB-8/s400/LisaBeck_enamelonmirror.jpg" width="385" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Lisa Beck</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">David Rhodes (left) and Li Trincere (right) </span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">David Seccombe (left), Joan Witek (center), and Jean Wolff (right) </span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA6rrA-58OJU0jH-RZUR8fdofSGOPZx7tnURPuvehCG2utwSbK9ingZLBgBk9ftQZ2l_J6uE2-gHbSo3pBdqK1bgMbD7kFWDiALjzDhS3d3VMx_ff4ADvziIbSU8i4ry-F5gXudqE9gFDe/s1600/DanWalsh.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1340" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA6rrA-58OJU0jH-RZUR8fdofSGOPZx7tnURPuvehCG2utwSbK9ingZLBgBk9ftQZ2l_J6uE2-gHbSo3pBdqK1bgMbD7kFWDiALjzDhS3d3VMx_ff4ADvziIbSU8i4ry-F5gXudqE9gFDe/s400/DanWalsh.jpg" width="356" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Dan Walsh </span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZtW2bAdHwrcE5X17gseWj6cKJH16oUZvVknFUP8_s9u0tzaL4W8bNWVqkkwPehL9dAc6KHeRH0LCdP6gAQ6ZFR75jF-6JYYusQsjAI17cso3Rb1qEw1_hwa3qxcKf6QL4y44ylDRogzLn/s1600/PatriciaZarate.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1245" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZtW2bAdHwrcE5X17gseWj6cKJH16oUZvVknFUP8_s9u0tzaL4W8bNWVqkkwPehL9dAc6KHeRH0LCdP6gAQ6ZFR75jF-6JYYusQsjAI17cso3Rb1qEw1_hwa3qxcKf6QL4y44ylDRogzLn/s400/PatriciaZarate.jpg" width="385" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Patricia Zarate </span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Rene Pierre Allain (left) and Henry Brown (right) </span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Laura Duerwald (left) and Gelah Penn (right) </span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpD9-6cBfG6rW4cTpRwH0_ZVoFRPhQgOCez3XsDHbET0OZAGPXDi0o2rSvmi7QDpuxCyLFNOxUzAk-1MGvwbyTuITl5wpj7BYj4brWVKXeCYwchybc3szQ7BmY9prBwmc9k0K6NN7mDDL9/s1600/MelissaKretschmer.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="544" data-original-width="1200" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpD9-6cBfG6rW4cTpRwH0_ZVoFRPhQgOCez3XsDHbET0OZAGPXDi0o2rSvmi7QDpuxCyLFNOxUzAk-1MGvwbyTuITl5wpj7BYj4brWVKXeCYwchybc3szQ7BmY9prBwmc9k0K6NN7mDDL9/s640/MelissaKretschmer.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Melissa Kretschmer</span></span></td></tr>
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<br />Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com2tag:blogger.com,1999:blog-5008393394459043474.post-83132110546924510802017-10-12T13:25:00.000-04:002017-10-12T13:25:01.845-04:00ALMOST BLACK and WHITE @ The Curator Gallery<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><b><span style="font-family: "trebuchet ms" , sans-serif;">Douglas Witmer / Laura Duerwald / Diane Tate DallasKidd</span></b></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-RzGhptYBQxo0Z7gByQUmocVmZ5nAUqwHZ3sbG1SjTEjz2d2TXNrIEc47Y8mFhRsH4nBlxTz8ePj8EcqPEDSCUGkEhto_sOjC5MN-wYG4UvuAspdKVHBXk-mXywl8qwwg7voPVFCqVIn7/s1600/Installation_galleryphoto_1473.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="346" data-original-width="779" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-RzGhptYBQxo0Z7gByQUmocVmZ5nAUqwHZ3sbG1SjTEjz2d2TXNrIEc47Y8mFhRsH4nBlxTz8ePj8EcqPEDSCUGkEhto_sOjC5MN-wYG4UvuAspdKVHBXk-mXywl8qwwg7voPVFCqVIn7/s640/Installation_galleryphoto_1473.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Installation view with paintings by Douglas Witmer / photo courtesy of The Curator Gallery</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">For readers familiar with my preoccupation with painting in black and white, it will come as no surprise that I was eager to see this exhibit. As I wrote <i><a href="http://tamarzinn.blogspot.com/2013/03/painting-in-black-and-white.html" target="_blank">in a post</a></i> several years ago, describing a painting (or anything else for that matter) as 'black and white' appears to be straightforward. However, no matter what the context, blacks and whites are complex, varied, and often filled with subtlety. As colors in the toolbox of a visual artist, they can be warm or cool, dense or atmospheric, luminous or flat. While describing a situation as black and white suggests it can be viewed with clarity, what appears to be a black and white painting is often something quite complex. From a distance, the surface of a painting might look smooth and unarticulated, the forms within it sharp and decisive, but closer examination may reveal a painterly history of loose brushwork, blobs and scratches, as well as edges that are anything but declarative.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">By shaping this exhibit around paintings that are mostly black and white, it offers an opportunity to consider what is distinctive about the intention and process of each artist, since their work is already linked by palette. This is not to suggest that the reduced palette is of little consequence, but rather that the context of the exhibit opens up additional avenues for looking at their work. It is also worth examining the role that geometry plays in the work of each of these artists as an additional thread connecting the paintings on exhibit.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinTI47NIzn2MB34dYmm8tBj-TqXxAoSqmF3OPv6t_hlb4_1NvQmy-8Dt-MgY8AkyWNrdkgNmgwgF3Pf2zFUq6w8fr-r0AR3MZo0pKvnnElk6oSzoRIKyJUrWPWFBy09dhmVVySeIqbnOqA/s1600/Installation_galleryphoto_1474.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="334" data-original-width="898" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinTI47NIzn2MB34dYmm8tBj-TqXxAoSqmF3OPv6t_hlb4_1NvQmy-8Dt-MgY8AkyWNrdkgNmgwgF3Pf2zFUq6w8fr-r0AR3MZo0pKvnnElk6oSzoRIKyJUrWPWFBy09dhmVVySeIqbnOqA/s640/Installation_galleryphoto_1474.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Installation view with paintings by Diane Tate DallasKidd (left) and Laura Duerwalkd (right) / photo courtesy of The Curator Gallery</span></td></tr>
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<span style="color: blue;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">DOUGLAS WITMER</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">The paintings of Witmer exert a quiet, but insistent hold on this viewer. </span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">They beckon patiently and provide an opportunity for extended dialogue. </span>Each
painting opens up a broad perceptual space for those willing to take
the time to engage with it and while generally intimate in size, each painting offers a
sense of expansive space. Witmer's materials, limited to black gesso and
acrylic on canvas, belie the complexity of the work.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilXGE_LNFFcd_0UrFJlWrl14onmt0UHu4Nze18ovfg2YKg5STiBbGGy5inGzQUxgW43deiaBRUpbNoon_3nGPXhhuPNhWDM-LG0iPXk9-n8EwUrooF7PY7DZi6ST9VftwRdFVtRFQanyyB/s1600/DWitmer_pair_1637.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1008" data-original-width="1455" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilXGE_LNFFcd_0UrFJlWrl14onmt0UHu4Nze18ovfg2YKg5STiBbGGy5inGzQUxgW43deiaBRUpbNoon_3nGPXhhuPNhWDM-LG0iPXk9-n8EwUrooF7PY7DZi6ST9VftwRdFVtRFQanyyB/s640/DWitmer_pair_1637.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">DOUGLAS WITMER <i>Untitled, 2017</i> (left) and <i>Untitled, 2017</i> (right). black gesso and acrylic on canvas. 10 x 8" each</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">Witmer's geometry is most often soft-edged, and his compositions spare, lending an aura of possibility, rather than certainty. The tentative geometry along the edges of each painting indicates a preference for suggestion, which seems central to Witmer's intention. While in several paintings Witmer makes a more emphatic statement with his geometry, the thin veils of paint, matte surfaces, and subtle variations across the field express ambiguity, rather than inevitability. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcm_BIYAJxhnDZ9nEm4LYSUW3T4mwciY0Rwf8pPnyfHDFdPP1MDqMiyXg7lQM6IVn54TXAgrp68WHNVQQScc5EIFad4Q8t-hW8dicQMSVANVhUmCAM0FJ2nk41Bfc0Q3Pu3gv0GWE1cgOc/s1600/DWitmer_suite+of+6_1635.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="763" data-original-width="1600" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcm_BIYAJxhnDZ9nEm4LYSUW3T4mwciY0Rwf8pPnyfHDFdPP1MDqMiyXg7lQM6IVn54TXAgrp68WHNVQQScc5EIFad4Q8t-hW8dicQMSVANVhUmCAM0FJ2nk41Bfc0Q3Pu3gv0GWE1cgOc/s640/DWitmer_suite+of+6_1635.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">DOUGLAS WITMER <i>Winterbrook (six panel set)</i>, 2017 black gesso and acrylic on canvas 17x14" each</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">In a nod to the 'almost' in the exhibit title, one canvas by Witmer most emphatically steps beyond the limits of black and white. Considerably larger than the rest of his paintings in the exhibit <i>When In Doubt,</i> 2015, 48x37", has a commanding presence in the gallery. It combines a more defined geometry with an intensely saturated blue field--a seeming contradiction to the painting's title. Nonetheless, Witmer steps back from that certainty in his handling of the edges of the painting. </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">His paintings are an invitation to wonder, rather than a directive of what to think or see.</span> </span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ9nAK1DYKiJYfwv7LepU4oUgj9Apg6WND_5l0oBA15u_MuZdAa211fLrxQY8lh68VBRUvdyjIZKgsz8F6CiFRC54TIhavLyS0YLtRtF6NqcmtqXUPbOi6EAVWrlJiUotL6gUYwFLJbBrE/s1600/DWitmer_2015_When+In+Doubt_galleryphoto.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="711" data-original-width="535" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ9nAK1DYKiJYfwv7LepU4oUgj9Apg6WND_5l0oBA15u_MuZdAa211fLrxQY8lh68VBRUvdyjIZKgsz8F6CiFRC54TIhavLyS0YLtRtF6NqcmtqXUPbOi6EAVWrlJiUotL6gUYwFLJbBrE/s640/DWitmer_2015_When+In+Doubt_galleryphoto.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">DOUGLAS WITMER <i>When In Doubt,</i> 2015 black gesso and acrylic on canvas 48 x 37" / photo courtesy of The Curator Gallery</span></td></tr>
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<span style="color: blue;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">LAURA DUERWALD</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Duerwald has work from two series on exhibit (all dated 2017)--one boldly geometric and the other more pattern-based. Although not apparent when viewed from a distance, these paintings are actually collaged constructions (incorporating acrylic, graphite, paper, and wax over either canvas or linen). </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBG0hzJf_gJ12TV1FO3KZv2A54a2hG0HMfTWkPUH3qEKVvo-taqpPSm-TzOBO_B6pWURenZ2BaGfbwfmnn-jys-ef6_dTtbUnKU6Zl2PLs7QHdSECmYUZ_b92RbUQouhckBsrCHAf1Bfb-/s1600/Installation_galleryphoto_1475.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="367" data-original-width="902" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBG0hzJf_gJ12TV1FO3KZv2A54a2hG0HMfTWkPUH3qEKVvo-taqpPSm-TzOBO_B6pWURenZ2BaGfbwfmnn-jys-ef6_dTtbUnKU6Zl2PLs7QHdSECmYUZ_b92RbUQouhckBsrCHAf1Bfb-/s640/Installation_galleryphoto_1475.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Installation view with paintings by LAURA DUERWALD</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtUjR6PjUWATH_JDUamShppswxKpUx3I3PjmOSIBCa6zbtJ1W63joZ3F1K1FLQKCGe2e_Ry0v8q81ANfjHslHHdIInX6AbYYrkHeEBzQbWjWPMmNcWklCxqvz3eglwVfPnHtpoOeE_6E01/s1600/LD_TelemarkXXVIII_galleryphoto.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="903" data-original-width="750" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtUjR6PjUWATH_JDUamShppswxKpUx3I3PjmOSIBCa6zbtJ1W63joZ3F1K1FLQKCGe2e_Ry0v8q81ANfjHslHHdIInX6AbYYrkHeEBzQbWjWPMmNcWklCxqvz3eglwVfPnHtpoOeE_6E01/s640/LD_TelemarkXXVIII_galleryphoto.jpg" width="530" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">LAURA DUERWALD <i>Telemark XXVIII,</i> 2017 graphite, acrylic, paper, wax on canvas over panel 24 x 20"</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbvNFtvsUALMWJkuD6NBfbass7P0IAiZVFPaFAakjnKrFi6fUWpsrcTLZd1axj_KlSWlRpnO6nztQFgy2ZLBi9sYm7a8Cl07br-71eT3pp1Bi3oN_TJJiIc-dK9tI-Tug_LdMY7F83RYUq/s1600/LDuerwald__three+Telemark_1634.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1002" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbvNFtvsUALMWJkuD6NBfbass7P0IAiZVFPaFAakjnKrFi6fUWpsrcTLZd1axj_KlSWlRpnO6nztQFgy2ZLBi9sYm7a8Cl07br-71eT3pp1Bi3oN_TJJiIc-dK9tI-Tug_LdMY7F83RYUq/s640/LDuerwald__three+Telemark_1634.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">LAURA DUERWALD <i>left to right: Telemark XXIV, Telemark XXIII, Telemark XXI, </i>2017 acrylic, graphite, paper, wax on canvas over panel each 16 x 12"</td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">In contrast to Witmer's generally unobtrusive presence, Duerwald more directly demands our attention, particularly with the hard-edged geometry of the <i>Telemark</i> series. Her idiosyncratic black forms are balanced by white areas that are peppered with marks. While the geometry in these paintings is unequivocal, the edges of each form are nuanced and somewhat irregular, and the black fields are filled with subtle atmosphere. Duerwald balances the seeming certainty of her geometry with the ambiguity of her mark-making. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">Duerwald's <i>Template</i>
paintings appear to loosely reference printed textiles. A wedge-like
mark is repeated and varies in density as it moves across the
surface. Closer examination reveals that these paintings have been
painstakingly constructed through a repetitive process of painting and tearing numerous scraps of paper, and then affixing them to the canvas in gently undulating rows. Unlike the defined geometry of the <i>Telemark</i> paintings, these paintings have a more tentative, suggestive quality to them, despite the black and white palette.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLviB5bzAEsNbJP31vVepKC793GDq1JCflcymxaPhE4EvbWo30bfMjhr4Qo47jAkS1hlQzDAFbDmp-ENrG9c954Q_Cunv4bn2sPMoxU_6eVVa5hpXtZbcE5aiI9n3AOsHJ-VwfgHr3-QJq/s1600/LDuerwald_1632.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="1031" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLviB5bzAEsNbJP31vVepKC793GDq1JCflcymxaPhE4EvbWo30bfMjhr4Qo47jAkS1hlQzDAFbDmp-ENrG9c954Q_Cunv4bn2sPMoxU_6eVVa5hpXtZbcE5aiI9n3AOsHJ-VwfgHr3-QJq/s640/LDuerwald_1632.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">LAURA DUERWALD <i>Template (Too Soon To Say Goodbye),</i> 2017 acrylic, graphite, paper, wax on linen 42 x 60"</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1MNHi6xia3WZ-ICLE_KyJKv5HiPZex8IESr2pn92SpA_hcqUrlRo3X4YGTofMLvP2S_SgjzHpZlYil1aWKkn4MSYMMDJjaHLkBVd8cZWRMXxbaxhAt6f5HnzJSy3I1spSWGp57g1bXLKY/s1600/LDuerwald_detail+photoTemplateptg_1633.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1008" data-original-width="978" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1MNHi6xia3WZ-ICLE_KyJKv5HiPZex8IESr2pn92SpA_hcqUrlRo3X4YGTofMLvP2S_SgjzHpZlYil1aWKkn4MSYMMDJjaHLkBVd8cZWRMXxbaxhAt6f5HnzJSy3I1spSWGp57g1bXLKY/s400/LDuerwald_detail+photoTemplateptg_1633.jpg" width="387" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"> LAURA DUERWALD Detail from a <i>Template</i> painting</span></td></tr>
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<span style="font-size: large;"><span style="color: blue;"><span style="font-family: "trebuchet ms" , sans-serif;">DIANE TATE DALLASKIDD</span></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">DallasKidd employs a systematic approach to her investigation of form and planes. Many of the works on exhibit depict the spatial effects of folding and flattening a rectangular, two-dimensional form. The paintings create the illusion of space as each folded and flattened sheet floats within a spare field, at times anchored along the painting's edge, but often disengaged from the edges. In an array of 9 small (8 x 10") paintings titled "Coming Undone", she offers many different manifestations of that exploration. While Duerwald's paintings are collaged constructions, DallasKidd creates illusion of collage by painting hard-edged, richly textured planes. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7bXlisr2uNF-cda6dzkxK_DJmcWAbwbJG4xp-omB6ldBnYYDbHAgnrNe3dl6j2LBSVdaRS84Eyv-iqXPH3jGN2tZ529ygmNWPLsC6OfHYe4BeiSd3EbqwGvzeMuzH1vnba1eHaQqHOnnB/s1600/DallasKidd_Page1_24x18_galleryphoto.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="852" data-original-width="639" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7bXlisr2uNF-cda6dzkxK_DJmcWAbwbJG4xp-omB6ldBnYYDbHAgnrNe3dl6j2LBSVdaRS84Eyv-iqXPH3jGN2tZ529ygmNWPLsC6OfHYe4BeiSd3EbqwGvzeMuzH1vnba1eHaQqHOnnB/s640/DallasKidd_Page1_24x18_galleryphoto.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">DIANE TATE DALLASKIDD <i>Page 1,</i> 2017 acrylic on wood panel 24 x 18" / photo courtesy of The Curator Gallery</span></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguL-aG2EUNlXqehZcEM1kfuxSTR5106f0d8nZIqhRw-EcGqJo2mk0IZeg9kmMhY9DgLCqFT43i0GDTlq_b-Rf7sWKhLTqCqr3Vu5wNJpWDRSbkal27ds86ItouPAdUQVd2sxV0PTtVZUNN/s1600/DallasKidd_Coming+Undone5_8x10_galleryphoto.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="909" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguL-aG2EUNlXqehZcEM1kfuxSTR5106f0d8nZIqhRw-EcGqJo2mk0IZeg9kmMhY9DgLCqFT43i0GDTlq_b-Rf7sWKhLTqCqr3Vu5wNJpWDRSbkal27ds86ItouPAdUQVd2sxV0PTtVZUNN/s400/DallasKidd_Coming+Undone5_8x10_galleryphoto.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">DIANE TATE DALLASKIDD <i>Coming Undone No. 5,</i> 2017 acrylic on wood panel 8x10" / photo courtesy of The Curator Gallery</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSU7Gcl04-_5ZHdKQGceaf2Ux-OPzF7NIr4hR_CWrKv9Rek6jBF3PFsGblsP0gRBHLb3SEHTDHTuL70B59JPLh9eCk_15U9JqGnzW7PKXx92EvY1A5SscbNZG3iJ90dDBSWo-EZwfZoI-6/s1600/DallasKidd_Coming%252BUndon6_8x10_galleryphoto.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="703" data-original-width="884" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSU7Gcl04-_5ZHdKQGceaf2Ux-OPzF7NIr4hR_CWrKv9Rek6jBF3PFsGblsP0gRBHLb3SEHTDHTuL70B59JPLh9eCk_15U9JqGnzW7PKXx92EvY1A5SscbNZG3iJ90dDBSWo-EZwfZoI-6/s400/DallasKidd_Coming%252BUndon6_8x10_galleryphoto.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">DIANE TATE DALLASKIDD <i>Coming Undone No. 6,</i> 2017 acrylic on wood panel 8x10" / photo courtesy of The Curator Gallery</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Almost Black and White / through October 28 / <a href="http://www.thecuratorgallery.com/almost-black-and-white" target="_blank">The Curator Gallery </a> / 520 West 23rd St. NYC</span></span>Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com0tag:blogger.com,1999:blog-5008393394459043474.post-65705743424789727392016-12-12T12:56:00.000-05:002016-12-27T08:13:27.287-05:00The power of art to transcend despair<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIibSknT71-g8pHJbZ1-7U5KOlpShAnCNECVT-HLMu_oqXqWF_He6mUPCgGJ5YLO5yOBUec1wDALUtufbO93HtdEN5bdzTvkoS2bJSPUpyWa-TWxMON3PvnaYjtNjbVUfS3_0LqKEuB3ps/s1600/ROTHKO_356.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIibSknT71-g8pHJbZ1-7U5KOlpShAnCNECVT-HLMu_oqXqWF_He6mUPCgGJ5YLO5yOBUec1wDALUtufbO93HtdEN5bdzTvkoS2bJSPUpyWa-TWxMON3PvnaYjtNjbVUfS3_0LqKEuB3ps/s640/ROTHKO_356.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">MARK ROTHKO <span style="font-size: xx-small;"><i>(currently on exhibit at Pace Gallery)</i></span></span></span></td></tr>
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<span style="font-family: "verdana" , sans-serif;">I write in an effort to escape, if only for a short while, the intense agitation and despair that have engulfed me for most of the past year. I have no desire to dwell on the circumstances that brought us here, for that would provide no relief whatsoever. I know that for my emotional and spiritual sanity, I must regain some balance in my life. I cannot let my fears about the future of our country and the world overpower everything that makes life meaningful for me. At the same time, I fully recognize that <span style="font-family: "verdana" , sans-serif;">our lives as Americans <span style="font-family: "verdana" , sans-serif;">have been</span> forever changed and that I cannot retreat from<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"> my engagement with the world.</span></span></span></span><br />
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<span style="font-family: "verdana" , sans-serif;">It is through the arts, as well as the natural world, that I find solace, beauty, joy, humor, sadness, and brilliance. <span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">They</span></span> have the power to surprise and provoke me.<span style="font-family: "verdana" , sans-serif;"> They <span style="font-family: "verdana" , sans-serif;">remind me of what is good in the world. </span> </span></span><br />
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<span style="font-family: "verdana" , sans-serif;">Three current exhibits (all on view in New York through early January) have exerted a powerful hold on my emotions and remain very present in my thoughts. I don't presume to have any significant insights into the work of these three artists. I can only describe what I experience when in the presence of the work.</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;"><i>Apologies for the limited information in the captions. For the Rothko exhibit, the gallery did not make complete information about the paintings available to the public. For the works by Herrera and Martin, it is my own sloppiness in not having kept track of the information</i>. </span></span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="color: blue;"><b>MARK ROTHKO: Dark Palette @ Pace</b></span> <span style="font-size: x-small;">(through January 7, 2017) </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3hqwBSPgbSfTM-ZrFM6RjY1NenLMmuPjSfKQ3sICLJO6vl_Vlt-pFy-Qf9-RGnHa49L2T2VnKf_A5UTckPMGxjgq6ZxahQqh4diNMTv8IMlgr3QP69mHowW78U9DXDt_IE4tw_Sq5yefv/s1600/ROTHKO_346.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3hqwBSPgbSfTM-ZrFM6RjY1NenLMmuPjSfKQ3sICLJO6vl_Vlt-pFy-Qf9-RGnHa49L2T2VnKf_A5UTckPMGxjgq6ZxahQqh4diNMTv8IMlgr3QP69mHowW78U9DXDt_IE4tw_Sq5yefv/s400/ROTHKO_346.jpg" width="377" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">MARK ROTHKO</span></span></td></tr>
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<span style="font-family: "verdana" , sans-serif;">Given my sense of despair, it might seem odd that this exhibit of darkly-hued paintings would lift the gloom from off my shoulders. But that is precisely what happened as soon as I was surrounded by <span style="font-family: "verdana" , sans-serif;">Rothko's</span> paintings. Rather than imparting a feeling of melancholy, I found most of the paintings rich with quiet intensity that produced a feeling of serenity. The sense of space in <span style="font-family: "verdana" , sans-serif;">each</span> painting is vast and continually shifting--but their instability <span style="font-family: "verdana" , sans-serif;">is</span> somehow comforting. Each painting hovers between certainty and mutability, the edges of the color fields defined, yet undefined. In one painting the vibrant glow along the edges of a field is filled with drama, while in another painting, the edges nearly disappear. My experience with these paintings was one of wonder and tranquility. </span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">For more information about the Rothko exhibit, <a href="http://www.pacegallery.com/exhibitions/12835/dark-palette" target="_blank">click here.</a></span></span> </span><br />
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<tr><td style="text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwpcA8emtGjv2j6tzOiZ7XtmzObVlCb8NW2SXR0Hc_sJ4zI4zYEpZHF_4Cvdt5ui3PKKGt7VY4oi9XgWAI2B2R78F4xxG_0p2a3-8BS5pwBQZhXL5AsXuy-7N4p2CMyGCPq2e009AFbpSM/s400/ROTHKO_349.jpg" style="margin-left: auto; margin-right: auto;" width="380" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">MARK ROTHKO</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZeZroomtoUeo7ba4u7lvD1PRM1HXShDvgmWwpd1b33iGLBKutb5bPyELzMOx89mYu04zSF1WcM4dfZII6L4cx8L3HqIFgWzbyylwnutB4U7ljpwBBQ-7WuPc1suPhZh8uFrG2EHkQ1dUr/s1600/ROTHKO_352.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZeZroomtoUeo7ba4u7lvD1PRM1HXShDvgmWwpd1b33iGLBKutb5bPyELzMOx89mYu04zSF1WcM4dfZII6L4cx8L3HqIFgWzbyylwnutB4U7ljpwBBQ-7WuPc1suPhZh8uFrG2EHkQ1dUr/s400/ROTHKO_352.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">MARK ROTHKO</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEzXjSLxGiqraf93UMDpfe5-xbPSbivFmSSrW5su_bulhCaeOx4QcLnOywrUJJ_YdKdOqNKWHT2tQYro2oKrodAHK9f9Q8NTr4Hn3JHJufT3r8rfvWiXnNJh_rRdtL4fkC8e5QZgQnedi2/s1600/ROTHKO_351.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEzXjSLxGiqraf93UMDpfe5-xbPSbivFmSSrW5su_bulhCaeOx4QcLnOywrUJJ_YdKdOqNKWHT2tQYro2oKrodAHK9f9Q8NTr4Hn3JHJufT3r8rfvWiXnNJh_rRdtL4fkC8e5QZgQnedi2/s400/ROTHKO_351.jpg" width="362" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">MARK ROTHKO</span></span></td></tr>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: blue;"><b>CARMEN HERRERA: Lines of Sight @ Whitney Museum</b></span> <span style="font-size: x-small;">(through January 9, 2017)</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje3jpdnAtB2B1hk8u3oWfxna5lu4f3ON8Z3CQ0-b219qJsmTi8NBxIT0sjWHhYpXIk3poPpK6ZsVpsnyiVyYGmRL-pUAzMxe1slDHAr-RXFCcSu3cZBgBTEDDt8Lr7PucR_15uGzgNkDUC/s1600/HERRERA_0319.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje3jpdnAtB2B1hk8u3oWfxna5lu4f3ON8Z3CQ0-b219qJsmTi8NBxIT0sjWHhYpXIk3poPpK6ZsVpsnyiVyYGmRL-pUAzMxe1slDHAr-RXFCcSu3cZBgBTEDDt8Lr7PucR_15uGzgNkDUC/s400/HERRERA_0319.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">CARMEN HERRERA Paintings from the series <i>Days of the Week</i></span></span></td></tr>
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<span style="font-family: "verdana" , sans-serif;">In contrast with the introspective experience of the Rothko exhibit, Herrera's bold geometric abstractions brought me <span style="font-family: "verdana" , sans-serif;">feelings of</span> of joyful vitality. The exhibit focuses on just a thirty-year span, 1948-1978, <span style="font-family: "verdana" , sans-serif;">in He<span style="font-family: "verdana" , sans-serif;">rrera's very long life (she continues to paint at the age of 101!) </span></span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">A wonderful suite of seven paintings from the late 1970s, <i>Days of the Week</i>, is installed on a long wall<span style="font-family: "verdana" , sans-serif;"> <span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">opposite the elevators</span></span>. In keeping with Herrera's tende<span style="font-family: "verdana" , sans-serif;">ncy to limit her palette, each of the paintings in this series is e<span style="font-family: "verdana" , sans-serif;">xecuted in black plus one other color. The offer up exuberance<span style="font-family: "verdana" , sans-serif;"> and clarity. I was also drawn to the very elegant <i>Blanco y Verde</i> paintings fro<span style="font-family: "verdana" , sans-serif;">m the 1960s. This work is defined by a pared down, asymmetrical geometry and limited <span style="font-family: "verdana" , sans-serif;">to green and white elements<span style="font-family: "verdana" , sans-serif;">, which continually shift between figure and ground. In another room is a large group of Herrera's <i>Es</i><span style="font-family: "verdana" , sans-serif;"><i>tructuras</i>--painted would <span style="font-family: "verdana" , sans-serif;">sculptures, some mounted on the walls and others free-standing on the floor. <span style="font-family: "verdana" , sans-serif;">The formal elements of these constructions sometimes parallel the geometry of her paintings, but here the interplay is between figure and empty space, rather than the figure / ground of the paintings. </span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">For more information about the Herrera exhibit, <a href="http://whitney.org/Exhibitions/CarmenHerrera" target="_blank">click here.</a></span></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">For an article about the Herrera exhibit, <a href="https://news.artnet.com/exhibitions/carmen-herrera-retrospective-whitney-649526" target="_blank">click here</a>.</span></span></span><br />
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<tr><td style="text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJaO4gVpprTlVvkUvQtmBXx5R0YdeMsambYOvITtqeI_18uWUIwDkJZiA6z74Q8ku5em06l61KqMw4fz73FrHLkBlhyphenhyphenTQwvDuva-8CxfPBvDOBCH5zUMUlycEBFHcKWibR0TcXMxup4dW7/s400/HERRERA_0310.jpg" style="margin-left: auto; margin-right: auto;" width="355" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">CARMEN HERRERA Painting from the <i>Blanco y Verde </i>series<i><br /></i></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMCboS26beFWA8Os5j4_kgbXke3qMhCyGRqaltlfKvtJYjuEJeMiqCbwuEZ0OFW8CNVHblnv3aPuLi_9DqN89EI9WXZJ_EwwW9GPEMmDRMJG7c8P2sL6XetofjhtqcDX7ETMiCgKNwP3w3/s1600/HERRERA_0305.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMCboS26beFWA8Os5j4_kgbXke3qMhCyGRqaltlfKvtJYjuEJeMiqCbwuEZ0OFW8CNVHblnv3aPuLi_9DqN89EI9WXZJ_EwwW9GPEMmDRMJG7c8P2sL6XetofjhtqcDX7ETMiCgKNwP3w3/s400/HERRERA_0305.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">CARMEN HERRERA Painting from the <i>Blanco y Verde </i>series<i><br /></i></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKxiTssF3GPYf9NAFHm29wv8Y5K3ZlzYVEJ4xelISDznCCsjBSB7FueARO26VDJX4AqR-P4NAwHRYe5H1sy9kplZnvgIMqSiUNjvJZEXFBVhz38MiqKy2HoF84lh-yAISwBuFQqR_e_j1h/s1600/HERRERA_0315.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKxiTssF3GPYf9NAFHm29wv8Y5K3ZlzYVEJ4xelISDznCCsjBSB7FueARO26VDJX4AqR-P4NAwHRYe5H1sy9kplZnvgIMqSiUNjvJZEXFBVhz38MiqKy2HoF84lh-yAISwBuFQqR_e_j1h/s400/HERRERA_0315.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">CARMEN HERRERA From the<i> Estructuras </i>series<i><br /></i></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl-LurTkLaze0fgkeCZHpA__RKVDcuf6KimDPTU3bgpNCflrgY1n9mJi1InktryOkByz2i103Ne6_bGQkiKlNEjItHZ3VXgUF1bVHDdzn3W7En5-EEijOYIbuu2CpfKW7vNbC_dLJnN0DS/s1600/HERRERA++paper_01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl-LurTkLaze0fgkeCZHpA__RKVDcuf6KimDPTU3bgpNCflrgY1n9mJi1InktryOkByz2i103Ne6_bGQkiKlNEjItHZ3VXgUF1bVHDdzn3W7En5-EEijOYIbuu2CpfKW7vNbC_dLJnN0DS/s400/HERRERA++paper_01.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">CARMEN HERRERA Work on paper<i><br /></i></span></span></td></tr>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="color: blue;"><b>AGNES MARTIN @ Guggenheim Museum</b></span> <span style="font-size: x-small;">(through January 11, 2017) </span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie9p5i0A0Ct27TcLPYMRYS1lykO6Tjp8GRVfVZTIexQWiHd7M5Z0CDp1jeiFWSJeaXuFhttNtgumeJisq-fz-3ouPwiA4_F3w0tjrVrrePoOY4N-vdLvppjXo7YR_ye33wxA2LpYsbwa-l/s1600/MARTIN_%25E2%2588%259A0378.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="391" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie9p5i0A0Ct27TcLPYMRYS1lykO6Tjp8GRVfVZTIexQWiHd7M5Z0CDp1jeiFWSJeaXuFhttNtgumeJisq-fz-3ouPwiA4_F3w0tjrVrrePoOY4N-vdLvppjXo7YR_ye33wxA2LpYsbwa-l/s400/MARTIN_%25E2%2588%259A0378.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">AGNES MARTIN from a 1980s series titled <i>Grey Paintings</i> <i><br /></i></span></span></td></tr>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">S</span>ince I am unlikely to offer any meaningful insights that would add to the discussion of Martin's work, I'll limit my comments to how I experience her work. As of this writing, I've visited th<span style="font-family: "verdana" , sans-serif;">is majestic and comprehensive exhibit three times and have only started to digest what I've seen. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">N<span style="font-family: "verdana" , sans-serif;">.B. </span>The narrow black bands along the edges of some paintings are the frames<span style="font-family: "verdana" , sans-serif;"> and not part of the <span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">paintings</span></span>. </span></span> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">What is immediately apparent is Martin's doggedness in pursuit of, step by minute step, the seemingly limitless variations that were possible within each 'theme' that captured her interest. Her repeated experimentation -- with infinitesimal shifts in palette, compositional structure, and mark making -- makes her paintings and drawings an endless source of pleasure for slow-lookers like me. The more time I spend with each work, the more I see. But I'm never certain if what I see is in the paint or is my perception of the paint -- pale, pale tints of colors appear and disappear, a very diffused light seems to gently move across the surface.</span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Another element of her work that grabs me by the gut is its tenderness -- when you move in quite close you can see the frailty of her pencil lines and the irregularity along the edges of her color bands. The mark of her hand is always present. What may appear to be a rigidly painted grid or a precisely drawn series of lines when viewed from a distance is transformed upon close examination. While the overall composition of Martin's mature work is generally quite restrained, the fields are filled with variegated grounds and stains. Clearly, the compositional framework suggests order, but the execution of each work suggests deep emotion. </span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"> </span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-size: x-small;">For more information about the Agnes Martin exhibit at the Guggenheim, <a href="https://www.guggenheim.org/exhibition/agnes-martin" target="_blank">click here.</a></span></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-size: x-small;">For more information about Agnes Martin <i>Grey Paintings</i>, <a href="http://www.pacegallery.com/exhibitions/11193/agnes-martin-the-80s-grey-paintings" target="_blank">click here.</a> </span></span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">AGNES MARTIN <i>White Flower, </i>1960 (<span style="font-size: xx-small;">from the Guggenheim Museum website)</span></span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">AGNES MARTIN <i>The Sea</i>, 2003 </span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifi3wDPqxXhSjtClISiKKtcYZa6EFCFOo4hCxTIMijphxSBVEWFuQWE6TKYHMmK-QV-vR7v0cRxeUS2Lck1gYJ_5Gg5s3SWUYOFSGICWeTW_EpkPD7oImV7D13f2_egZLrOW_U7_VmdK8J/s1600/MARTIN_%25E2%2588%259Adetail+I+Love+the+Whole+World+_0366.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifi3wDPqxXhSjtClISiKKtcYZa6EFCFOo4hCxTIMijphxSBVEWFuQWE6TKYHMmK-QV-vR7v0cRxeUS2Lck1gYJ_5Gg5s3SWUYOFSGICWeTW_EpkPD7oImV7D13f2_egZLrOW_U7_VmdK8J/s320/MARTIN_%25E2%2588%259Adetail+I+Love+the+Whole+World+_0366.jpg" width="273" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">AGNES MARTIN Detail from <i>I love the whole world, </i>1999</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">AGNES MARTIN Detail from <i>White Flower, </i>1960<i> <span style="font-size: xx-small;">(the color cast may be incorrect)</span></i></span></span></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"><i><br /></i></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNY7yBkKjg_cEahozA7A-9q2kiU-wMubcDQjVZ9eiMWGjkBnYDMSjgbA4LPC12ActEieznZqC1h_MI9-xCEJe6VQ3ReBPlmubzdnIvDbznkpyfOvBDNwsSSQHkqWYkOVlQ9AO3vl-abEUt/s1600/MARTIN_%25E2%2588%259AUntitled2004_0376.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="391" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNY7yBkKjg_cEahozA7A-9q2kiU-wMubcDQjVZ9eiMWGjkBnYDMSjgbA4LPC12ActEieznZqC1h_MI9-xCEJe6VQ3ReBPlmubzdnIvDbznkpyfOvBDNwsSSQHkqWYkOVlQ9AO3vl-abEUt/s400/MARTIN_%25E2%2588%259AUntitled2004_0376.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">AGNES MARTIN Untitled, 2004</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">AGNES MARTIN </span></span></td></tr>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">If looking at the paintings in this post <span style="font-family: "verdana" , sans-serif;">has</span> given you some comfort in this difficult time, then I have done some good. If this post sends you off to see the exhibits for the first time, or the fifth time, even better. If looking at these paintings gives you the courage to engage in the difficult work that lies ahead of us, I look forward to joining you in the streets. </span></span></div>
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<br />Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com4tag:blogger.com,1999:blog-5008393394459043474.post-86763119089918484922016-03-19T18:29:00.000-04:002016-03-19T18:29:17.432-04:00(Un)conditional Color @ The Curator Gallery | Chelsea<span style="font-family: "Trebuchet MS", sans-serif; font-size: large;">The thread that connects the four artists in <a href="http://www.thecuratorgallery.com/" target="_blank">(Un)conditional Color</a>, according to curator Mark Wethli, is that the "use of vibrant uncompromising color is a defining characteristic of their art." At first glance, what is most in evidence are the palette and formal aspects that characterize each artist's work. But there is something more that links the work of these four artists. When I had the opportunity to revisit the exhibit and linger over the work, I found myself acutely aware of the energy and activity embedded in their work, and the many ways in which their use of color enhances our experience of that energy.</span><br />
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<span style="font-family: "Trebuchet MS", sans-serif; font-size: large;"><span style="color: blue;"><b>Suzanne Laura Kammin's</b></span>
paintings are marked by channels that sweep across the surface, smoothly directing us through open expanses of color. The curved corners of many of these channels allow us to zip around with ease and also serve to connect adjacent areas of color. Kammin's palette allows us moments of rest as we travel around the field.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw1QKXMp9VPt2G6AHXTgOq_5TwPmatAX4X0hSW17Uv8sCJLD6I5qjOPllHqw9mieW4hgO8NnPi_8M-IkneLHnkRDnr5Ft4Ic8nB1SYSl812q39Z27FEEhr-b7ug4kJbtA0mfUmaTa9WonJ/s1600/Kammin_SnakeCharmer.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw1QKXMp9VPt2G6AHXTgOq_5TwPmatAX4X0hSW17Uv8sCJLD6I5qjOPllHqw9mieW4hgO8NnPi_8M-IkneLHnkRDnr5Ft4Ic8nB1SYSl812q39Z27FEEhr-b7ug4kJbtA0mfUmaTa9WonJ/s400/Kammin_SnakeCharmer.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Suzanne Laura Kammin <i>Snake Charmer</i>, 2013 oil on panel 16 x 16 inches</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5M8MbnoLgFVB4GEm6XneLg8ZF5dFeJSo0LOj7lCXqF6jg5PbWQRXo_iOp-TKAXNMERgyt2mkjjMplZ3qcdB8jlaMf-M6yZLfNIAOABVE2fqnIFh79UM2uUF7RYzEv1j0WeP0VFpEs2Ta4/s1600/KAMMIN.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5M8MbnoLgFVB4GEm6XneLg8ZF5dFeJSo0LOj7lCXqF6jg5PbWQRXo_iOp-TKAXNMERgyt2mkjjMplZ3qcdB8jlaMf-M6yZLfNIAOABVE2fqnIFh79UM2uUF7RYzEv1j0WeP0VFpEs2Ta4/s400/KAMMIN.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">Suzanne Laura Kammin Installation view</span></span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif; font-size: large;">The experience changes dramatically when looking at <span style="color: blue;"><b>Jason Karolak's</b></span>
paintings, where we move up, down, across, in, and out . . . a bit of a
bumpy trip around a manic jungle gym. His intensely hued and somewhat awkward structures hover
over fields of deep blacks and magentas, and move us energetically
through the space. Shifting bands of color pushing in from the
edges add to the intensity of the ride.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgsYhsBDHFvpqWnD7zTN30iC7PMKQ_n4kTicofUOFtnZVRBcgsXMZGryXwvTxF__pmH-ZywNLyEzpfc_tOKUk9GDgjqmpX8XTKAzQmwnHujnDNhWqghQ3Tn8t0QgLTs_kLME9-Guv0mYU0/s1600/KAROLAK_Untitled+%2528P-1435%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgsYhsBDHFvpqWnD7zTN30iC7PMKQ_n4kTicofUOFtnZVRBcgsXMZGryXwvTxF__pmH-ZywNLyEzpfc_tOKUk9GDgjqmpX8XTKAzQmwnHujnDNhWqghQ3Tn8t0QgLTs_kLME9-Guv0mYU0/s400/KAROLAK_Untitled+%2528P-1435%2529.jpg" width="356" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">Jason Karolak <i>Untitled (P-1435)</i>, 2014 oil on linen 18 x 16 inches</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">Jason Karolak Installation view</span></span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif; font-size: large;"><span style="color: blue;"><b>Brooke Nixon</b></span>
divides her canvases into grids of intensely hued triangles that
pulsate across the surface. I was struck by near simultaneous sensations of
flatness--looking across the surface at the rhythmic patterns of color, and depth-- experiencing dimensionality as the interlocking triangles coalesced into a continually shifting network of cubes. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">Brooke Nixon <i>Sailors Take Warning</i>, 2015 acrylic on panel 24 x 24 inches</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6iTiAtZlyiGA3ybnmplMoFG4dsJr-AWedmXJvureE18qSFthKE_Z5n6ANsVWzLpoXau-Yr1HELJSXcE2kTNkjzpB41zgJNV1XgJu3bge249Vxsc6jPcIhiqL3gQ3ipd8xd3S_muxg2NLk/s1600/NIXON.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6iTiAtZlyiGA3ybnmplMoFG4dsJr-AWedmXJvureE18qSFthKE_Z5n6ANsVWzLpoXau-Yr1HELJSXcE2kTNkjzpB41zgJNV1XgJu3bge249Vxsc6jPcIhiqL3gQ3ipd8xd3S_muxg2NLk/s400/NIXON.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">Brooke Nixon Installation view</span></span></td></tr>
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<br /><span style="font-family: "Trebuchet MS", sans-serif; font-size: large;">The highly energized paintings of <span style="color: blue;"><b>Tom Krumpak</b></span> are marked by a cacophony of form and color. In several of his smaller works, the many shapes sort themselves into somewhat orderly arrays, but most often his vibrantly colored forms are interlaced across the surface, daring us to engage and enter the fray.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-Q-0s63KkdGkGRM93EKIdf3qdsXX9ZgKb8hnULWVKSvzZWRGRIP2bcKpIO27h1zBa28U_ZrcpYkda_AmgxiXH_RePsyKLOuO2T6f5rgO2-GIJfA44mYCOI4VuLI9obqSa36F2nuEKX71R/s1600/KRUMPAK_ComeHere.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-Q-0s63KkdGkGRM93EKIdf3qdsXX9ZgKb8hnULWVKSvzZWRGRIP2bcKpIO27h1zBa28U_ZrcpYkda_AmgxiXH_RePsyKLOuO2T6f5rgO2-GIJfA44mYCOI4VuLI9obqSa36F2nuEKX71R/s400/KRUMPAK_ComeHere.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">Tom Krumpak <i>Come Here</i> acrylic on canvas 72 x 96 inches</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW7_NO7HmqvjNE4bM5NwnotrI3ag6430YTpPgmcXXh0XEoLxERL-eBYb_TBCPLbR5N-3DjQvbJrsVEjxx6sXf5FA0nf4Sk-uZmmaVpRlgAIuobF5nejCEfy1NrDnoRsV4YsNwvYdMN8nwO/s1600/KRUMPAK.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW7_NO7HmqvjNE4bM5NwnotrI3ag6430YTpPgmcXXh0XEoLxERL-eBYb_TBCPLbR5N-3DjQvbJrsVEjxx6sXf5FA0nf4Sk-uZmmaVpRlgAIuobF5nejCEfy1NrDnoRsV4YsNwvYdMN8nwO/s400/KRUMPAK.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">Tom Krumpak Installation view</span></span></td></tr>
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<span style="font-size: large;"><span style="font-family: "Trebuchet MS", sans-serif;">To see more work from the exhibit, click <a href="http://www.thecuratorgallery.com/" target="_blank">here</a>. </span></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><br /></span></span>Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com1tag:blogger.com,1999:blog-5008393394459043474.post-7771310054011836072016-01-18T14:40:00.004-05:002016-01-20T21:28:35.793-05:00Ilse D'Hollander @ Sean Kelly<span style="font-family: "trebuchet ms" , sans-serif;">Belgian artist <a href="http://ilsedhollander.org/" target="_blank"><b>Ilse D'Hollander</b></a> (1968 - 1997) produced a powerful body of work during the final years of her life, a selection of which is currently on view at <a href="http://www.skny.com/exhibitions/2016-01-08_ilse-dhollander/" target="_blank">Sean Kelly</a> through February 6. The exhibition features 32 paintings and 23 works on paper, most dating from 1994-1996. In her intimately sized canvases and works on paper, D'Hollander transformed elements from the landscape and built world into abstractions, alternating between vigorous visual statements and more tentative, suggestive explorations. The tension present in all of her work captures the viewer's gaze and invites contemplation.</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: xx-small;"><i>(Photos courtesy of Sean Kelly Gallery as noted)</i></span> </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><b>D'Hollander's PAINTINGS</b>, most less than 16 inches in height, are characterized by decisive compositions with visible brushwork. In some paintings, her palette is rich and marked by bold contrasts, while other paintings are far more subdued, both in color and structure. The paintings appear to be thoughtfully considered and bold, yet they also embody elements of uncertainty and mystery. That D'Hollander produced such a range of work over a brief period of time reflects a very personal approach -- one in which each painting suggests a unique and intense experience.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfkvmSpocI07rRV_V4dwCuW_a0T0Pe0gzkDN6qYwvnrM3UOpGswsemwrBpLvlcYgYNU-bYqBdaqVG3pQO6TOZOCMfDiIxk6CY0uNrxiQ-rsBD9Bxoyi58wFC7WAOnQ6KwdA4qLHxrDPijX/s1600/IDH-P.247_painting.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfkvmSpocI07rRV_V4dwCuW_a0T0Pe0gzkDN6qYwvnrM3UOpGswsemwrBpLvlcYgYNU-bYqBdaqVG3pQO6TOZOCMfDiIxk6CY0uNrxiQ-rsBD9Bxoyi58wFC7WAOnQ6KwdA4qLHxrDPijX/s640/IDH-P.247_painting.jpg" width="467" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Ilse D'Hollander <i>Untitled</i>, 1996 oil on canvas 16 1/8 x 11 13/16 inches </span></span><br />
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<span style="font-family: "trebuchet ms"; font-size: 7.0pt;">© The
Estate of Ilse D’Hollander Photo: Guy Braeckman Courtesy: Sean Kelly, New York</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYODoYNa__VfUPR6AvIaOieUYksrsmOfUKTR_XGS2xlZ0GmnN4cYKzLjOfA1nL6J1JBpiLUoLWptR56_l8frH4X9M9NF1SEXxFf1A7epvCqSoHMfZKFtjljQcYkR8QuJeH8qIUSHOUcSy8/s1600/IDH-P.082_painting.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYODoYNa__VfUPR6AvIaOieUYksrsmOfUKTR_XGS2xlZ0GmnN4cYKzLjOfA1nL6J1JBpiLUoLWptR56_l8frH4X9M9NF1SEXxFf1A7epvCqSoHMfZKFtjljQcYkR8QuJeH8qIUSHOUcSy8/s640/IDH-P.082_painting.jpg" width="561" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Ilse D'Hollander <i>Untitled</i>, 1994/95 oil on canvas 15 3/4 x 13 3/4 inches </span></span><br />
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<span style="font-family: "trebuchet ms"; font-size: 7.0pt;">© The
Estate of Ilse D’Hollander Photo: Guy Braeckman Courtesy: Sean Kelly, New York</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi1sKh931WgOwyo7NWVUY2S7mhEy7RsBcs5HoXPc90jIa9NnPlqKrZj0f8_lHARmJl6Mnc9gnMdjogYcncPZfRMtXDrgwGLxkWD19Z7rP_DGciwalnKc8fYBCyoivwK_i6gMERw_G9P50n/s1600/IDH-P.005_painting.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi1sKh931WgOwyo7NWVUY2S7mhEy7RsBcs5HoXPc90jIa9NnPlqKrZj0f8_lHARmJl6Mnc9gnMdjogYcncPZfRMtXDrgwGLxkWD19Z7rP_DGciwalnKc8fYBCyoivwK_i6gMERw_G9P50n/s640/IDH-P.005_painting.jpg" width="578" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Ilse D'Hollander <i>Untitled</i>, 1996 oil on canvas 23 5/8 x 21 1/4 inches </span></span><br />
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<span style="font-family: "trebuchet ms"; font-size: 7.0pt;">© The
Estate of Ilse D’Hollander Photo: Guy Braeckman Courtesy: Sean Kelly, New York</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe1iCUbWjCM9STe-u9iDUsTCSnBDvXlnNHf8wbGW6xYvYV6XlZIencYB2VH34FQyS9Wy3gFWmSQi24VOKhh6nZjWfeS_hNKOkYIAT7bncTothjGE8vmUi5vEnugUVm-dRL-GCJrl8zeCFa/s1600/IDH-P.308_painting.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe1iCUbWjCM9STe-u9iDUsTCSnBDvXlnNHf8wbGW6xYvYV6XlZIencYB2VH34FQyS9Wy3gFWmSQi24VOKhh6nZjWfeS_hNKOkYIAT7bncTothjGE8vmUi5vEnugUVm-dRL-GCJrl8zeCFa/s640/IDH-P.308_painting.jpg" width="514" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Ilse D'Hollander <i>Untitled</i>, 1996 oil on canvas 2<span style="font-family: "trebuchet ms" , sans-serif;">7</span> <span style="font-family: "trebuchet ms" , sans-serif;">3</span>/<span style="font-family: "trebuchet ms" , sans-serif;">16</span> x 21 <span style="font-family: "trebuchet ms" , sans-serif;">7</span>/<span style="font-family: "trebuchet ms" , sans-serif;">8 </span>inches </span></span><br />
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<span style="font-family: "trebuchet ms"; font-size: 7.0pt;">© The
Estate of Ilse D’Hollander Photo: Guy Braeckman Courtesy: Sean Kelly, New York</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">The
fragile but emphatic lines that appear in some of her canvases suggest
acts of great courage. Painted across a completed field, each marks an irrevocable
declaration, a statement of being present.</span><br />
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<tr><td style="text-align: center;"><img border="0" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbApO0suM2rOz3s2IRnPBze6r_q9q4_R1ftfh4t1fP4i9BgM6rQdlMUxyDmRm7hdX0tZBScPRex3Qd9lRaitBLvkvF_7ws43IhmDgycLuJFuA0bzL-WLGmSsFDkLa6CcIpa2VF8sNSLv7T/s640/IDH-P.237_painting.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Ilse D'Hollander <i>Untitled</i>, 1996 oil on canvas 11 13/16 x 14 9/16 inches </span></span><br />
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<span style="font-family: "trebuchet ms"; font-size: 7.0pt;">© The
Estate of Ilse D’Hollander Photo: Guy Braeckman Courtesy: Sean Kelly, New York</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDzgYEFHeKcXDWvhRkm6g59yw5vZ8CSXk06wSt0FfMSAUBpQrrpgF78_v5Bo7EJqk58vYs_4Ey8Wen-ohY2OkoljfHdHV0svQILkbxa-APl1tUiqffUNhA3Dcc1AQIjdkxXuanxyw6RpY8/s1600/%25E2%2588%259AIDH-P.313_painting.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDzgYEFHeKcXDWvhRkm6g59yw5vZ8CSXk06wSt0FfMSAUBpQrrpgF78_v5Bo7EJqk58vYs_4Ey8Wen-ohY2OkoljfHdHV0svQILkbxa-APl1tUiqffUNhA3Dcc1AQIjdkxXuanxyw6RpY8/s640/%25E2%2588%259AIDH-P.313_painting.jpg" width="492" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Ilse D'Hollander <i>Untitled</i>, 1996 oil on canvas 28 x 21 5/8 inches </span></span><br />
<span style="font-family: "trebuchet ms"; font-size: 7.0pt;">© The
Estate of Ilse D’Hollander Photo: Guy Braeckman Courtesy: Sean Kelly, New York</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBP_1Vv2IM59LRumtvJk2VtICcXk6uAG5fB7Z5iTOhj3PWt2PwZ7fkWZUiw8shXgQgHQ-vaQs9ftmpF7piBC346g2Zf6PP9BDfVfUsw2H3yXg89neEVOQXre3v05bVTOnYPC116GwNCHAu/s1600/%25E2%2588%259AIDH-P.098_painting.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBP_1Vv2IM59LRumtvJk2VtICcXk6uAG5fB7Z5iTOhj3PWt2PwZ7fkWZUiw8shXgQgHQ-vaQs9ftmpF7piBC346g2Zf6PP9BDfVfUsw2H3yXg89neEVOQXre3v05bVTOnYPC116GwNCHAu/s640/%25E2%2588%259AIDH-P.098_painting.jpg" width="539" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Ilse D'Hollander <i>Untitled</i>, 1996 oil on canvas 18 1/2 x 15 3/4 inches </span></span><br />
<span style="font-family: "trebuchet ms"; font-size: 7.0pt;">© The
Estate of Ilse D’Hollander Photo: Guy Braeckman Courtesy: Sean Kelly, New York</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;">Unlike the more considered quality of her canvases, </span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><b>D'Hollander's</b> <b>PAINTINGS ON PAPER</b></span>
(in oil or gouache) are very immediate and energetic.
The palette is generally quite saturated, and the compositions
absolutely unapologetic. The mark of her hand is evident in the dynamic
brushwork in each of these small gems. </span><span style="font-family: "trebuchet ms" , sans-serif;">(See more of D'Hollander's<b> </b>works on paper in <a href="http://tamarzinn.blogspot.com/2014/07/paintings-on-paper-summer-group-exhibit.html" target="_blank">my post</a> about a summer 2014 group exhibit at <a href="http://tamarzinn.blogspot.com/2014/07/paintings-on-paper-summer-group-exhibit.html" target="_blank">David Zwirner</a>). </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0CZWCmf8QOjPVuZwNjQsQ4mvQB8aXNteKaeyqrIMm165rB7QQul045ng2mYsF-TwrmGllTtArQUeSWRLiOibIaOfgBwPAK9EbpEkb4mycrOLTrq98btJgpBxSe1bXk3fpi7OuDKBN1bfh/s1600/IDH-WP.G052_7+right+wall.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0CZWCmf8QOjPVuZwNjQsQ4mvQB8aXNteKaeyqrIMm165rB7QQul045ng2mYsF-TwrmGllTtArQUeSWRLiOibIaOfgBwPAK9EbpEkb4mycrOLTrq98btJgpBxSe1bXk3fpi7OuDKBN1bfh/s400/IDH-WP.G052_7+right+wall.jpg" width="287" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Ilse D'Hollander <i>Untitled</i>, 1996 oil on paper 6 7/8 x 4 15/16 inches </span></span><br />
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<span style="font-family: "trebuchet ms"; font-size: 7.0pt;">© The
Estate of Ilse D’Hollander Photo: Guy Braeckman Courtesy: Sean Kelly, New York</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Wu3I5zs5t0Z-FZuJBuggaZCXyzODcCxo4A_-dyoGlR2iVYI_X7Kp-8TwgidVCSJNVkYYKx9ofzM0gDDEACmAXCArqJK9P-0Qb24cl38oK7Sd3o9PTvXtUetEQ4auI_gwJ4xzN5hY81CA/s1600/IDH-WP.G055_5+left+wall.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Wu3I5zs5t0Z-FZuJBuggaZCXyzODcCxo4A_-dyoGlR2iVYI_X7Kp-8TwgidVCSJNVkYYKx9ofzM0gDDEACmAXCArqJK9P-0Qb24cl38oK7Sd3o9PTvXtUetEQ4auI_gwJ4xzN5hY81CA/s400/IDH-WP.G055_5+left+wall.jpg" width="301" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Ilse D'Hollander <i>Untitled</i>, 1996 gouache on paper 7 x 5 inches </span></span><br />
<span style="font-family: "trebuchet ms"; font-size: 7.0pt;">© The
Estate of Ilse D’Hollander Photo: Guy Braeckman Courtesy: Sean Kelly, New York</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbS2RezApWC5e_pvct9C4OidHQBkB-jZxHuKnN8MftpMK57a1qj6iZ6Fa3OZAEtr8UdiUJjHWhkt1DfILKtMADXE7oakz7Vy9QY4lYjDiZN6ABX5jUjQv6e24uI_gL1Sih7fqr0aE2E4CK/s1600/IDH-WP.G059_1+right+wall.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbS2RezApWC5e_pvct9C4OidHQBkB-jZxHuKnN8MftpMK57a1qj6iZ6Fa3OZAEtr8UdiUJjHWhkt1DfILKtMADXE7oakz7Vy9QY4lYjDiZN6ABX5jUjQv6e24uI_gL1Sih7fqr0aE2E4CK/s400/IDH-WP.G059_1+right+wall.jpg" width="308" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Ilse D'Hollander <i>Untitled</i>, 1996 gouache on paper 6 7/8 x 5 1/8 inches </span></span><br />
<span style="font-family: "trebuchet ms"; font-size: 7.0pt;">© The
Estate of Ilse D’Hollander Photo: Guy Braeckman Courtesy: Sean Kelly, New York</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;">D'Hollander's paintings on paper, ranging in size from 7 x 5" to 13 x 9", invite close examination. The wonderful salon-style installation also allows for a lively conversation among these small works.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqz2Y6uGt0JkdDC6yIb6eiU3xIccao_P1KlwvqbC8m0wINkH1u77J_XPMOqGSwhIn71slvL-chIIy3GKjmibiSb9k88bX8J8FY2EaoHi8EG8GztuM69vyEsQbX5dblHmzHrIN7lXNVE4x4/s1600/IDH-WP.G346_2+right+wall.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqz2Y6uGt0JkdDC6yIb6eiU3xIccao_P1KlwvqbC8m0wINkH1u77J_XPMOqGSwhIn71slvL-chIIy3GKjmibiSb9k88bX8J8FY2EaoHi8EG8GztuM69vyEsQbX5dblHmzHrIN7lXNVE4x4/s400/IDH-WP.G346_2+right+wall.jpg" width="305" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Ilse D'Hollander <i>Untitled</i>, 1996 oil on paper 12 5/8 x 9 1/2 inches </span></span><br />
<span style="font-family: "trebuchet ms"; font-size: 7.0pt;">© The
Estate of Ilse D’Hollander Photo: Guy Braeckman Courtesy: Sean Kelly, New York</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgU1E4WWICotsIsUjwy1-JM9SmSOoKPkaVh-cyw11I0nLaxkKshTDB_IFdHm25TfB06RkF_bu7R4hnYrl8we8u84if2wkPbh2teAYILHAUmLgzmea9cYOVdMQBlcisgnG9rez-BkNvNsMK/s1600/IDH-WP.G340_2+left+wall.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgU1E4WWICotsIsUjwy1-JM9SmSOoKPkaVh-cyw11I0nLaxkKshTDB_IFdHm25TfB06RkF_bu7R4hnYrl8we8u84if2wkPbh2teAYILHAUmLgzmea9cYOVdMQBlcisgnG9rez-BkNvNsMK/s400/IDH-WP.G340_2+left+wall.jpg" width="287" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Ilse D'Hollander <i>Untitled</i>, 1996 oil on paper 8 1/4 x 5 11/16 inches </span></span><br />
<span style="font-family: "trebuchet ms"; font-size: 7.0pt;">© The
Estate of Ilse D’Hollander Photo: Guy Braeckman Courtesy: Sean Kelly, New York</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmYoTP_di1C7PDgxwFUQgou3S4hmc1cyTJ_GJ91wgFnqDczIXayGUwVROQPAFZ2nA7Ui07Wx_eIcLH7DAHd64MdwPc880-gnWPAh1NQqWP7ura5A4z3DLUWGhejbhBpiGdauZjysSkuZxq/s1600/IDH-2016+SKNY+works+on+paper+Install_Photo+Jason+Wyche+-+25.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmYoTP_di1C7PDgxwFUQgou3S4hmc1cyTJ_GJ91wgFnqDczIXayGUwVROQPAFZ2nA7Ui07Wx_eIcLH7DAHd64MdwPc880-gnWPAh1NQqWP7ura5A4z3DLUWGhejbhBpiGdauZjysSkuZxq/s640/IDH-2016+SKNY+works+on+paper+Install_Photo+Jason+Wyche+-+25.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">Installation view of </span></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Ilse D'Hollander </span></span>w<span style="font-family: "trebuchet ms" , sans-serif;">orks on pape<span style="font-family: "trebuchet ms" , sans-serif;">r at Sean <span style="font-family: "trebuchet ms" , sans-serif;">Kelly, New York</span></span></span></span></span> </span></span><br />
<span style="font-family: "trebuchet ms"; font-size: 7.0pt;"> Photo: Jason Wyche, New York Courtesy: Sean Kelly, New York</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://www.skny.com/exhibitions/2016-01-08_ilse-dhollander/" target="_blank">Click here</a>, for the current exhibit at Sean Kelly.</span> </span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://ilsedhollander.org/" target="_blank">Click here</a>, to see a complete overview of D'Hollander's work. </span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"></span><br />Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com0tag:blogger.com,1999:blog-5008393394459043474.post-939834485932111962015-10-09T21:57:00.002-04:002015-10-14T13:26:09.669-04:00Helen O'Leary: Between moments of certainty<style>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgESxwVgUbYcItwTMyRrYEme7wmFm9Czk7di_5Slm-Ent55iKuO7jgs7huRW7891QTV0atDOWzAx4UJ1_KHPp3meqXLl2C6uNn-pi7TdLfeoZRCROLsvCWRCz3lqmYZn7iOLsUtbNgXuzcS/s1600/%25E2%2588%259AShort+Shift.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgESxwVgUbYcItwTMyRrYEme7wmFm9Czk7di_5Slm-Ent55iKuO7jgs7huRW7891QTV0atDOWzAx4UJ1_KHPp3meqXLl2C6uNn-pi7TdLfeoZRCROLsvCWRCz3lqmYZn7iOLsUtbNgXuzcS/s400/%25E2%2588%259AShort+Shift.jpg" width="286" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span style="font-size: xx-small;">HELEN O'LEARY <i>Short Shift,</i> 2015 Egg tempera, oil emulsion, on constructed wood 17 x 12 x 5"</span></span></span></td></tr>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><a href="http://www.lesleyheller.com/exhibitions/20150909-helen-oleary" target="_blank">"Delicate Negotiations" Helen O'Leary at Lesley Heller Workspace</a> <span style="font-size: x-small;">(through October 18)</span></span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">The notion that there are numerous layers of meaning beyond what we initially see is nothing new. Whether it is literature, music, choreography or visual arts, the complexity of our experiences is the very thing that makes the arts so rewarding. The work of Helen O'Leary embodies a multiplicity of meanings and does so with unassuming power. Combining both painting and sculpture, O'Leary's work evidences purposefulness as well as deep emotion, drawing on her life as an artist, as well as her personal narrative.</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><i>"I locate my work between the moments of material and emotional certainty..."</i> (Helen O'Leary, <a href="http://studiocritical.blogspot.com/2012/09/helen-o-leary.html" target="_blank">Studio Critical interview, September 2012)</a> </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwft4igvGJYF6wyhxraoZKxLCIK3qizILi5myvX5GlSdrszO-1TuaVvQuF6oMIJmFsi5qELcwmU6Lm6CDt_WSWs3rwRY9cAGS-6OEPFczfzBRsjw6WNQDTQN5xlIhlEnEGJGOMsKj7Gssx/s1600/%25E2%2588%259A+Installlation+view.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwft4igvGJYF6wyhxraoZKxLCIK3qizILi5myvX5GlSdrszO-1TuaVvQuF6oMIJmFsi5qELcwmU6Lm6CDt_WSWs3rwRY9cAGS-6OEPFczfzBRsjw6WNQDTQN5xlIhlEnEGJGOMsKj7Gssx/s400/%25E2%2588%259A+Installlation+view.jpg" width="400" /></a></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">At first glance, O'Leary's wall paintings appear to be painted over thin remnants of metal or cardboard that have been folded, partially flattened, and then attached to a support. The edges of the paintings are irregular and ragged, as if cut from something larger, and the surfaces are punctuated here and there by small holes. The matte surfaces are generally painted in a muted palette (although several pieces have a luscious ceramic-like luster). Small sections of the armature are visible on several of these paintings, enlivening the shadows on the wall. There is a quiet completeness to these paintings, and also a sense of mystery. However, the front face of these paintings, with its small valleys, shadows, and perforations, obscures a more complex story.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEievDIyF0P-BXMO7NTp1wZp4R0gdEBVTBNSj7h0CAMs2XAXnI2cUftOfFysd_8Xx-0KZxNvf0n5W9H3ISrIlhlmdCj2eOlTQSXuJe5-6z04d3IKrLvZkz3oATMH_1P-aRbkyRW4_oYfIKVM/s1600/%25E2%2588%259AHoldout.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEievDIyF0P-BXMO7NTp1wZp4R0gdEBVTBNSj7h0CAMs2XAXnI2cUftOfFysd_8Xx-0KZxNvf0n5W9H3ISrIlhlmdCj2eOlTQSXuJe5-6z04d3IKrLvZkz3oATMH_1P-aRbkyRW4_oYfIKVM/s400/%25E2%2588%259AHoldout.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span style="font-size: xx-small;">HELEN O'LEARY <i>Holdout</i>, 2015 Egg tempera, oil emulsion, on constructed wood 14 x 20 x 5"</span></span></span></span></span></span></span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Since several paintings rest on pedestals, we can see both the fronts and backs, revealing another part of O'Leary's narrative. She begins by constructing a thin wooden slab as a support for each painting -- gluing and patching together fragments of studio detritus to create an armature. And it is only by seeing the backs of these paintings -- the support -- that we come to understand more of her intentions. Not only does each painting contain a history that incorporates physical remnants from O'Leary's past, she very deliberately shares it with us. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNyUIWqG2Kp8sMJsn1MIupiWhtk2M2yh6zqYxLxM2EfXxt-7xOeHKCnzPSYEZU2YJDru_h1HNXyXovdnoVwca0gQe4Na2xAVu3XX5AsOUNdAqsxIOYN3DiPs_JXoCoiNZIw8_wEUdZvf6N/s1600/%25E2%2588%259ATheMeasurement+of+All+Things_front.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNyUIWqG2Kp8sMJsn1MIupiWhtk2M2yh6zqYxLxM2EfXxt-7xOeHKCnzPSYEZU2YJDru_h1HNXyXovdnoVwca0gQe4Na2xAVu3XX5AsOUNdAqsxIOYN3DiPs_JXoCoiNZIw8_wEUdZvf6N/s640/%25E2%2588%259ATheMeasurement+of+All+Things_front.jpg" width="452" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span style="font-size: xx-small;">HELEN O'LEARY <i>The Measurement of All Things</i>, 2013-15 Egg tempera, oil emulsion, on constructed wood 13 x 10 x 2"</span></span></span></span></span></span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #2f759e; line-height: 150%;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #2f759e; line-height: 150%;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="color: black;"><i>The Measurement of All Things</i>, 2013-15 (detail of back)</span></span></span></span></span></span></span></span></span></span></span></td></tr>
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<tr><td style="text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdh_9QKsHqAGmeDwj-F6Ut8BoToyylio65l5pETzCF83KWUgzOz-16wEMsBgCfIj76F-T6LYEoluAkpD0-iisR9OawsHwQ7cYQbf7iLV-RigQdlDQ_YLDRye8j1uxHrAhGxme_GueRvqXs/s400/%25E2%2588%259ABusiness+of+Kindness_front.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span style="font-size: xx-small;">HELEN O'LEARY <i>The Business of Kindness,</i> 2014 Egg tempera, oil emulsion, on constructed wood 9.5 x 14 x 2"</span></span></span></span></span></span></span></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixh7qkS30n6ttbRSrE5okX1FiZ-Q7kWGiho1yy-GpCKNDtvZlGn6cFIcJH-KMG3goMibCAJK-4hYYJL-aOtbk__Zsoogp_sSNgXch9Hgta0sRZogKcpagPVHSFClvN_48ivRpmDBYUwBaY/s1600/%25E2%2588%259ABusiness+of+Kindness_back.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixh7qkS30n6ttbRSrE5okX1FiZ-Q7kWGiho1yy-GpCKNDtvZlGn6cFIcJH-KMG3goMibCAJK-4hYYJL-aOtbk__Zsoogp_sSNgXch9Hgta0sRZogKcpagPVHSFClvN_48ivRpmDBYUwBaY/s400/%25E2%2588%259ABusiness+of+Kindness_back.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span style="font-size: xx-small;"><i>The Business of Kindness,</i> 2014 (back view)</span></span></span></span></span></span></span></span></span></span></span></span></span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">For several of the largest pieces, the patched wood surface remains in full view, rather than having been concealed and smoothed out under a painted surface. Unlike the austerity of the smaller works, here we see the messiness and energy with which O'Leary attacks the making of the work -- the busyness of patched, glued and painted fragments. In these pieces, the emotional pitch has been ratcheted up to a feverish energy.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOU_k_1H5b0RebJFCJqgqlLdDM3uxzT-OxRTiTw5yhbm1dyiwp5ndBz4HcgUuv6uUfswVQTX8EZo4OaTeVMaH7EhvBBsYWnJJVPcTE60lTAnwS-ZFUKFXojHhCLHtYqv-Uct2o3Yv0j_3w/s1600/%25E2%2588%259ADelicateNegotiations.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOU_k_1H5b0RebJFCJqgqlLdDM3uxzT-OxRTiTw5yhbm1dyiwp5ndBz4HcgUuv6uUfswVQTX8EZo4OaTeVMaH7EhvBBsYWnJJVPcTE60lTAnwS-ZFUKFXojHhCLHtYqv-Uct2o3Yv0j_3w/s640/%25E2%2588%259ADelicateNegotiations.jpg" width="498" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span style="font-size: xx-small;">HELEN O'LEARY <i>Delicate Negotiations, 2015</i> Egg tempera, oil emulsion, on constructed wood 68 x 48 x 10"</span></span></span></span></span></span></span></span></span></span></span></span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ5W1cp0HlpRbV35TH3n1dxcG9GdC41EqKeR_2bz3FF5hz0kgSGyMXz4vD2S0UrziYasRChOA6T41gxETHQMD7Iq3XObnG-e3ATxseKTrdYKekhqkxc_X-a7Dkd67Gqem4rnOlWH-RA2mA/s1600/%25E2%2588%259ADelicateNegot+Detail.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ5W1cp0HlpRbV35TH3n1dxcG9GdC41EqKeR_2bz3FF5hz0kgSGyMXz4vD2S0UrziYasRChOA6T41gxETHQMD7Iq3XObnG-e3ATxseKTrdYKekhqkxc_X-a7Dkd67Gqem4rnOlWH-RA2mA/s320/%25E2%2588%259ADelicateNegot+Detail.jpg" width="297" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #2f759e; line-height: 150%;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="color: black;"><i>Delicate Negotiations, 2015</i> (detail)</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Several pieces enter yet another realm -- the patched surfaces are still evident, but are partially obscured by paint. The concealment seems to suggest a quiet desperation to contain the energy of the making.</span></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB7kFHqA0S3R_QZ8Sl4AzcECCoiKsXL-P4srKQm4Yq8x5JTQMuxBzRcgdKYKlFDlEnmvtPgSOvHW2X_aatQRZ3gAIaoVLpYmRySDgMg7mv1122HaVaKGr3ih9NaQx8AcOZ2CMsXivapox6/s1600/%25E2%2588%259AEfficiency+of+Love.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB7kFHqA0S3R_QZ8Sl4AzcECCoiKsXL-P4srKQm4Yq8x5JTQMuxBzRcgdKYKlFDlEnmvtPgSOvHW2X_aatQRZ3gAIaoVLpYmRySDgMg7mv1122HaVaKGr3ih9NaQx8AcOZ2CMsXivapox6/s640/%25E2%2588%259AEfficiency+of+Love.jpg" width="502" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span style="font-size: xx-small;">HELEN O'LEARY <i>Efficiency of Love, 2015</i> Egg tempera, oil emulsion, on constructed wood 56 x 43 x 5"</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge420EO-8aiohBT74A9MzNT-pOnd_bN8_K7bCfgqcy11FrSRKrONGb095ONvYLiO1BGQtScNL5P0WwsjVF-LayzW3bQDfmDYU_DInYsUYp8gB5Raa3siCn0oYJMRSs3_82R4Yx89zUN8jB/s1600/%25E2%2588%259AA+measure+for+happiness.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge420EO-8aiohBT74A9MzNT-pOnd_bN8_K7bCfgqcy11FrSRKrONGb095ONvYLiO1BGQtScNL5P0WwsjVF-LayzW3bQDfmDYU_DInYsUYp8gB5Raa3siCn0oYJMRSs3_82R4Yx89zUN8jB/s640/%25E2%2588%259AA+measure+for+happiness.jpg" width="355" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span style="font-size: xx-small;">HELEN O'LEARY <i>A Measurement for Happiness, 2013</i> Egg tempera, oil emulsion, on constructed wood 19 x 11 x 5.5"</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">The exhibit also includes several sculptures constructed into wobbly open networks using fragments of wood (more studio history) that have been joined and glued together. They share a sense of urgency and compressed energy that contrast with the calm of the smallest paintings.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsCAj0H3FKidQO8fda_MxEz4Ua69s18rM5Ox10S7GV2AvNJ-MaE0uEI9eTVS6XFKhyphenhyphenjXtZaW5n_X8UltzRMl8ZXL7rzzjZlCNJBQbf5adXnGnVAv-zpkXasw8_l54PzlGEHKOVSzAirj4q/s1600/%25E2%2588%259AThe+Exactitude+of+Everything.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsCAj0H3FKidQO8fda_MxEz4Ua69s18rM5Ox10S7GV2AvNJ-MaE0uEI9eTVS6XFKhyphenhyphenjXtZaW5n_X8UltzRMl8ZXL7rzzjZlCNJBQbf5adXnGnVAv-zpkXasw8_l54PzlGEHKOVSzAirj4q/s640/%25E2%2588%259AThe+Exactitude+of+Everything.jpg" width="603" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span style="font-size: xx-small;">HELEN O'LEARY <i>The Exactitude of Everything, 2013</i> Egg tempera, oil emulsion, on constructed wood 24 x 20 x 7.5"</span></span></span></span></span></span></span></span></span></span></span></span></span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSNmsNpHO5kd0TRLaY2utXwfUpoHWZVKQ77zhqCXqjpQ8uRnAo4cnI9neREdE02072RZ_evLbJI8I8mtK52PHOsF8Dy0h6YevYbQTVkNUF9uODU2DhlEvVPSTnHLpRp0Oaq8DKoJsf113j/s1600/%25E2%2588%259AQuarantine2_detail+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSNmsNpHO5kd0TRLaY2utXwfUpoHWZVKQ77zhqCXqjpQ8uRnAo4cnI9neREdE02072RZ_evLbJI8I8mtK52PHOsF8Dy0h6YevYbQTVkNUF9uODU2DhlEvVPSTnHLpRp0Oaq8DKoJsf113j/s640/%25E2%2588%259AQuarantine2_detail+.jpg" width="419" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="line-height: 150%;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span style="font-size: xx-small;">HELEN O'LEARY <i>Quarantine 2 (after Eavan Boland) 2015</i> Egg tempera, oil emulsion, on constructed wood 110 x 72 x 14"</span></span></span></span></span></span></span></span></span></span></span></span></span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">O'Leary's work is at once serene and meticulously worked, while filled with an insistent energy and edginess. What remains is the inevitability of uncertainty.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"> FURTHER READING:</span></span></div>
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</span></span><span style="font-family: Calibri; font-size: 11.0pt; line-height: 150%;"><a href="http://www.gorkysgranddaughter.com/2015/09/helen-oleary-at-lesley-heller-workspace.html" target="_blank">Gorky's Granddaughter interview with Helen O'Leary, September 2015 </a></span></div>
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<span style="font-family: Calibri; font-size: 11.0pt; line-height: 150%;"> </span><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"></span></span><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://www.huffingtonpost.com/william-eckhardt-kohler/helen-oleary-at-the-irish_b_6391980.html" target="_blank"><span style="font-family: Calibri; font-size: 11.0pt; line-height: 150%;">Helen O'Leary interview by WilliamEckhardt Koler, Huffington Post, December 2014</span></a></span></span></div>
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<br />Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com2tag:blogger.com,1999:blog-5008393394459043474.post-40072454164949731932015-08-07T14:22:00.002-04:002015-08-07T16:34:45.314-04:00Stanley Whitney @ Karma | Step by step<div class="separator" style="clear: both; text-align: center;">
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<i><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">"</span></i><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><i>That’s
the way I want to move—step by step by step. My work changes very slowly……<span style="mso-spacerun: yes;"> </span> </i></span></div>
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<span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><i>Taking every step—that’s something I stole
from Mondrian." </i> </span></div>
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<span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Stanley Whitney <span style="font-size: x-small;">(2014 interview with <a href="http://bombmagazine.org/article/0604420/stanley-whitney" target="_blank">Alteronce Gumby, BOMB's Oral History Project</a>)</span></span></div>
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<span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">The springboard for this post was a recent visit to <span style="color: blue;"><a href="http://karmakarma.org/post/121049881648/stanley-whitney-june-15august-16-2015-opening" target="_blank">Karma</a></span> (in Manhattan's East Village) to see an exhibit of Stanley Whitney's paintings and studies from the 1990s (up through August 16). In the spacious exhibition area in the back of the gallery are five large paintings lush with Whitney's vibrant palette, but also filled with very energized mark-making that contrasts with the clarity of his current work. In these paintings, the compositional foundation for the work that would follow is already in place. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkV08YkpAx5E3NqZHsUOXhJmEtSQ6nslKdDvRM3NAjjV9YB0C82oJd7LaCJdvcTfbfreCn0DFXdDP8uT74yyHOP9uTMoXMGRb0E2VzsC2B0EeP-BQP49mfQAXZpdXHTVBafe4WeWEkpHEQ/s1600/SW+In+Our+Songs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkV08YkpAx5E3NqZHsUOXhJmEtSQ6nslKdDvRM3NAjjV9YB0C82oJd7LaCJdvcTfbfreCn0DFXdDP8uT74yyHOP9uTMoXMGRb0E2VzsC2B0EeP-BQP49mfQAXZpdXHTVBafe4WeWEkpHEQ/s640/SW+In+Our+Songs.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stanley Whitney, <i>In Our Songs</i>, 1996 oil on linen, 77 x 103"</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5vtYQVVbI0fDpHQz2_ID_Kg-9LsvdqLGO-j4807DSwnm8a8sUnCqyVcwo9wldsDbfk_GqVnZjPONR7HaN577pLocX2t5AhaqkJ-bA1h014eYWsyYCDyLcPPY1DdTliMuuK9lVJkUbBkq-/s1600/Trials+of+Misfortune+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5vtYQVVbI0fDpHQz2_ID_Kg-9LsvdqLGO-j4807DSwnm8a8sUnCqyVcwo9wldsDbfk_GqVnZjPONR7HaN577pLocX2t5AhaqkJ-bA1h014eYWsyYCDyLcPPY1DdTliMuuK9lVJkUbBkq-/s640/Trials+of+Misfortune+.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Stanley Whitney, <i>The Trials of Misfortune</i>, 1996 oil on linen, 80 x 103"</span></td></tr>
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<span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">These large paintings are marvelous to see, but it is the wall of 84 small works in the front area of the gallery that I find particularly captivating. Hung salon style are 31 oil on canvas studies (roughly 7 x 9.5") and 53 works on paper (either crayon or graphite on paper, various sizes ranging from 9 x 12" up to 17 x 20"). </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheRY3uVKOSHAPaTTEYkfb1RYLgCnzwOG2saEkvaZ94STbr1juBaEhg5hJqArDvqhBkWvKi-VKjeO1vWqPW0Veqkqllf42d91ssbQPAz632A5qdG8V4sGBFwmMQcl83Cg9A5gfm2bzjeaeo/s1600/SW+vertical+installation+shot+%25E2%2588%259A386.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheRY3uVKOSHAPaTTEYkfb1RYLgCnzwOG2saEkvaZ94STbr1juBaEhg5hJqArDvqhBkWvKi-VKjeO1vWqPW0Veqkqllf42d91ssbQPAz632A5qdG8V4sGBFwmMQcl83Cg9A5gfm2bzjeaeo/s640/SW+vertical+installation+shot+%25E2%2588%259A386.jpg" width="440" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">Installation detail of small works by Stanley Whitney @ Karma </span></span></td></tr>
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<span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">I'd been thinking about the role of small studies (both drawn and painted) in the evolution of my own work, and seeing this wall of Whitney's work served as a prompt to write about it. For visual artists, studies are a way to refine and clarify ideas. Starting with a familiar vocabulary of marks, composition, and palette, and working through endless iterations, studies offer a path towards moving beyond what is already known. Not to be confused with preparatory sketches for larger works, studies are a form of visual brainstorming--done without editing or censorship. Relatively modest in size, they require little preparation and often can be executed fairly rapidly. While some artists use bound sketchbooks for their studies so that the sequence remains intact, others, myself included, often hang them up on the studio walls, always within sight. </span></div>
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array of small studies in this exhibit should serve to dispel the
notion that creativity is driven by inspiration. Of course--we see
things, we go places, we have conversations that may spark us to think
in new ways. And Whitney has unequivocally stated in several interviews
that a visit to Egypt in the mid-1990s transformed the way he thought
about space. But inspiration must be cultivated. We have to ready
ourselves to be open to the 'Aha moment'. And that happens through the
daily habit of drawing; it happens because of the willingness to engage
with the familiar over and over and over again, moving in small steps,
until we can take a leap.</span> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgpbhl4YTs6ZuIHKzOf3FFhEkBtZPn6DhVgI6TQgE_mMHLi118OS1Zif0R9c2qRcWiQqRmXdJL59vZl3nOb6it9KeKE8xiHr6duLiCLQ3n2pTLqFWH9X1an5IEfvEGlgO3V8cfoExOv12z/s1600/SW+in+studio_+Marina+Adams+photo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgpbhl4YTs6ZuIHKzOf3FFhEkBtZPn6DhVgI6TQgE_mMHLi118OS1Zif0R9c2qRcWiQqRmXdJL59vZl3nOb6it9KeKE8xiHr6duLiCLQ3n2pTLqFWH9X1an5IEfvEGlgO3V8cfoExOv12z/s400/SW+in+studio_+Marina+Adams+photo.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">Stanley Whitney in his Cooper Square studio, 1983. Photo by Marina Adams</span></span></td></tr>
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<span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"></span><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">From this 1983 photo, it is clear that Whitney's studies have been a constant presence in his studio. </span><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Small
drawings (whether with paint, graphite, or crayons) are
central to his process. ".... The drawings were very important to
me: they were key to figuring out the space. Even now with the
paintings, no matter how structured they are, the lucid stuff really
belongs to drawing." (2008 interview with John Yau, Brooklyn Rail). </span></div>
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<span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Whitney's compositional vocabulary has long revolved around subverting the grid. By the 1990s, he was working with a loosely defined structure that incorporated rows of repeated forms interspersed with often spindly horizontal elements. Unlike the airy and majestic paintings now on view at the <a href="http://www.studiomuseum.org/exhibition/stanley-whitney-dance-the-orange" target="_blank">Studio Museum in Harlem</a>, executed from 2008 to 2015 and dominated by color, in the works of the 1990s line and gesture vie for attention alongside the color. Whitney's graffiti-like, almost scribbled lines seem ready to burst out of the the</span><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"> irregular orbs and rectangles that parade across the rows. The thin, horizontal bands provide an overall structure to works that are densely packed and appear ready to burst from the edges. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEVCO50b3eFZW-R7PkE796exGH8QPvctlhQXnGWpnfJziI2lAn_4RI2MvowXrDBrPKQtF7TEVfVtXNwzThugtnnRrGmydVsPclsvZOqPyeflWgGUA-bVfQqN2vjHrx5pt4vi9gzzQpaCwX/s1600/SW+%25E2%2588%259A382.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEVCO50b3eFZW-R7PkE796exGH8QPvctlhQXnGWpnfJziI2lAn_4RI2MvowXrDBrPKQtF7TEVfVtXNwzThugtnnRrGmydVsPclsvZOqPyeflWgGUA-bVfQqN2vjHrx5pt4vi9gzzQpaCwX/s320/SW+%25E2%2588%259A382.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">Stanley Whitney, </span></span><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><i>Untitled</i>, </span></span>crayon on paper</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO7hjvmlsgyDtFknlyv7RgM3DY56V6HflcX8VjJ4LT8t-Ttnb83xgxJ1wjI3sTiAxrPiTSrQhCZiNWZ59lm837nVBNNTu-sZufFhRZlx-VIsdNsnGjNf2-_YgExJtZMFMsxuWaPb1ta7ky/s1600/SW+%25E2%2588%259A383.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO7hjvmlsgyDtFknlyv7RgM3DY56V6HflcX8VjJ4LT8t-Ttnb83xgxJ1wjI3sTiAxrPiTSrQhCZiNWZ59lm837nVBNNTu-sZufFhRZlx-VIsdNsnGjNf2-_YgExJtZMFMsxuWaPb1ta7ky/s320/SW+%25E2%2588%259A383.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">Stanley Whitney, </span></span><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><i>Untitled</i>, </span></span>crayon on paper</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMqVOvBYpjO87tLZYZZQ18WoG1uIYlxhe_RyP4ZtrduRJoSB2SNucH3VntPd33xFEkOG1vzOuSAhbtJRGJG7cPIGFR5BqR37WUN7Y5vxV0odVEya4rq-h_ac18Uf6NUeZPU7KnlgMjsp_3/s1600/SW+%25E2%2588%259A381.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMqVOvBYpjO87tLZYZZQ18WoG1uIYlxhe_RyP4ZtrduRJoSB2SNucH3VntPd33xFEkOG1vzOuSAhbtJRGJG7cPIGFR5BqR37WUN7Y5vxV0odVEya4rq-h_ac18Uf6NUeZPU7KnlgMjsp_3/s320/SW+%25E2%2588%259A381.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">Stanley Whitney, <i>Untitled</i>, crayon on paper</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHpu6h3GV3-MOf3VG24uBZzFFRXsup6XOdBZBiv42U7HpahcKh2yB_ia2KuTfU-XWl9GTkVigWdBhV0NChVEieaoUyXQWNxlv3jmGEZOOd_hwii9AyFjv1Ory6KoQBQ5c8T78A9HAEWcUu/s1600/SW+%25E2%2588%259A387.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHpu6h3GV3-MOf3VG24uBZzFFRXsup6XOdBZBiv42U7HpahcKh2yB_ia2KuTfU-XWl9GTkVigWdBhV0NChVEieaoUyXQWNxlv3jmGEZOOd_hwii9AyFjv1Ory6KoQBQ5c8T78A9HAEWcUu/s320/SW+%25E2%2588%259A387.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">Stanley Whitney, </span></span><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><i>Untitled</i>, </span></span>crayon on paper</span></span></td></tr>
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<span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">By examining Whitney's studies, you see him explore how the rows communicate, how forms variously open up across a row or elbow tightly together. You see him grappling with space, color, and with the tension between line and color. Rapidly executed studies make visible the many permutations that are possible within a given framework and ultimately allow us to leap (or slowly step) to a new place. The
scope of Whitney's studies reveal the diligence and concentration of a
mind and hand always at work, continuously exploring and questioning
step-by-step, asking why this and not that?</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE_Yo4HgOLouc3oCs1wCB3Ziy9giRQwJPHQEUVrXGIP2xzpT41GYtjCey0HkpIXciaCYsfDJwkbSmLXm77RuG8DCrx0nikqENJx6NbUHTUvJjhXNes5KA02T55p2XorRvzUamnALaJaL-K/s1600/SW075+Karma.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE_Yo4HgOLouc3oCs1wCB3Ziy9giRQwJPHQEUVrXGIP2xzpT41GYtjCey0HkpIXciaCYsfDJwkbSmLXm77RuG8DCrx0nikqENJx6NbUHTUvJjhXNes5KA02T55p2XorRvzUamnALaJaL-K/s320/SW075+Karma.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">Stanley Whitney, <i>Untitled</i>, 1996, Graphite lead on rice paper, 12.5 x 17" <span style="font-size: xx-small;"><i>photo courtesy of Karma </i></span></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_shb43ZNzNKqvpFF8MJmjCFxpFLjkeMxxldgAwbqrxi9WAKRQN7O5Ge3du9Rz-Wke1UB2f9te9zBT82PmhqAlxJhk8h82tJtgG6YuBaOATbsMq1GHlty-QCJ8iwVtIGSZYRfiNUVbT1Ww/s1600/SW079+Karma.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_shb43ZNzNKqvpFF8MJmjCFxpFLjkeMxxldgAwbqrxi9WAKRQN7O5Ge3du9Rz-Wke1UB2f9te9zBT82PmhqAlxJhk8h82tJtgG6YuBaOATbsMq1GHlty-QCJ8iwVtIGSZYRfiNUVbT1Ww/s320/SW079+Karma.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">Stanley Whitney, <i>Untitled</i>, 1996, Graphite lead on rice paper, 16.75 x 20" <span style="font-size: xx-small;"><i>photo courtesy of Karm</i></span>a </span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">Stanley Whitney, <i>Untitled</i>, 1996, Graphite lead on rice paper, 16.5 x 20.5" <span style="font-size: xx-small;"><i>photo courtesy of Karma</i></span> </span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">Stanley Whitney, <i>Untitled</i>, 1996, Graphite lead on rice paper, 12.5 x 17" <span style="font-size: xx-small;"><i>photo courtesy of Karma</i></span> </span></span></td></tr>
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<span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">The 30 small oil on canvas paintings, dating from 1991-1994 and approximately 7 x 9.5", are in some instances more open with the forms afloat within each row, while in others the forms are jam-packed and more spatially confined. In these small paintings, Whitney has focused on color and composition, and there is little evidence of the frenzied mark-making that dominate the graphite and crayon drawings. From the changing placement of the repeated circular forms, he appears to be grappling with the construction of space. As time passes, we see the an occasional rectangular form and a change in how he is defining the space. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-ZPg7fCMf1y63kz-z6tQgIiV_zOXulDjQaVehuEpkV_vLG5oFx2ViRz2g0fxGDX778Www26DcW5pP66sZKO3Wj04BSlQLuo_2wtGaTcdorivDUpqfDS7-PErq3NX5RTWp3_oiJLgXwTxa/s1600/SW_001+Karma.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-ZPg7fCMf1y63kz-z6tQgIiV_zOXulDjQaVehuEpkV_vLG5oFx2ViRz2g0fxGDX778Www26DcW5pP66sZKO3Wj04BSlQLuo_2wtGaTcdorivDUpqfDS7-PErq3NX5RTWp3_oiJLgXwTxa/s320/SW_001+Karma.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">STANLEY WHITNEY, <i>Untitled</i>, 1992 oil on canvas 7 x 9.5 inches</span></span> <span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;"><i>photo courtesy of Karma</i></span></span></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFvxBZC2KHWg8658f9bmkOx8Q1Cxxs8Y8KKRcdCJ_CsCCVWpX6wpxTw0diN7swdOJV_X2mdogpo1Kbx2-L9_zN4d-WWs8WSmUnLzsWdDKYuHxE3n_AuTVufQTxL5nY7r-U380FGda7DBSo/s1600/SW_010+Karma.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFvxBZC2KHWg8658f9bmkOx8Q1Cxxs8Y8KKRcdCJ_CsCCVWpX6wpxTw0diN7swdOJV_X2mdogpo1Kbx2-L9_zN4d-WWs8WSmUnLzsWdDKYuHxE3n_AuTVufQTxL5nY7r-U380FGda7DBSo/s320/SW_010+Karma.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">STANLEY WHITNEY, <i>Untitled</i>, 1993 oil on canvas 7 x 9.5 inches</span></span> <span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;"><i>photo courtesy of Karma</i></span></span></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeTUb1D0vrcVrIdEyhuMu0qh7q3L4uxHN_9SOmqv59OQwmgwMXpzbs3OjyF9C4ptQs4S2M3UeG_VOGIk7rTOngfgi-oxiPyiALCm0HUj-zE1s61CQmALLs5gdMkmehTOxs8cadLSR8Rqsq/s1600/SW_024+Karma.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeTUb1D0vrcVrIdEyhuMu0qh7q3L4uxHN_9SOmqv59OQwmgwMXpzbs3OjyF9C4ptQs4S2M3UeG_VOGIk7rTOngfgi-oxiPyiALCm0HUj-zE1s61CQmALLs5gdMkmehTOxs8cadLSR8Rqsq/s320/SW_024+Karma.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">STANLEY WHITNEY, <i>Untitled</i>, 1994 oil on canvas 7 x 9.5 inches</span></span> <span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;"><i>photo courtesy of Karma</i></span></span></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoiinm05MMd_Hyq0mBQ0RS9VCKifJpdfAsN-c53wHHQIZjkmBoWVR4yYolTjHnne0BqwgQisbY3rIQk_TMwUKZRjsjyoKe1IVjg808NVgKdXd4gn2Iopxkh7wGOst2Tr4i8RTPqa-umbuT/s1600/SW_013+Karma.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoiinm05MMd_Hyq0mBQ0RS9VCKifJpdfAsN-c53wHHQIZjkmBoWVR4yYolTjHnne0BqwgQisbY3rIQk_TMwUKZRjsjyoKe1IVjg808NVgKdXd4gn2Iopxkh7wGOst2Tr4i8RTPqa-umbuT/s320/SW_013+Karma.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">STANLEY WHITNEY, <i>Untitled</i>, 1994 oil on canvas 7.125 x 9.5 inches</span></span> <span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;"><i>photo courtesy of Karma</i></span></span></span></span></td></tr>
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<span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><br /></span>
<span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">From the 84 studies on exhibit (and I suspect there may have been many more) it is evident that Whitney was well prepared for that 'Aha moment' in Egypt in 1996. </span></div>
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<i><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">"And as I said, I always had the color. The color was never an issue. The issue was, how was I going to make the color subject matter. And I didn't really know that this was my big question all those years, but that's what I was asking. I was always working on how to put the color in the right space. So, Egypt was the last piece of the puzzle. Density. I realized that I could just pack the color together." </span></i><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"> <span style="font-size: x-small;">(2014 interview with <a href="http://bombmagazine.org/article/0604420/stanley-whitney" target="_blank">Alteronce Gumby, BOMB's Oral History Project</a>)</span></span></div>
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<span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Karma has just published a book featuring Whitney's work from 1975 to 2015. <a href="http://karmakarma.org/post/121356651448/stanley-whitney-karma-new-york-2015-440-pages" target="_blank">Click here for more information.</a></span><br />
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<span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">To read the in-depth interview on BOMB, <a href="http://bombmagazine.org/article/0604420/stanley-whitney" target="_blank">click here</a>. </span><br />
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Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com3tag:blogger.com,1999:blog-5008393394459043474.post-91962646354307931462015-05-17T18:57:00.000-04:002015-05-17T19:27:38.111-04:00Conversations | Type of Abstraction @ Key Projects<style>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;">Lately, I’ve noticed myself noticing how I look at art – very much a metacognitive
approach to viewing.<span style="mso-spacerun: yes;"> </span>Why do I spend so much time with this piece, but not the one next to
it by the same artist?<span style="mso-spacerun: yes;"></span></span></span><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"> </span></span> </span>What about the piece pulls
me in initially, and then compels me to take another look? <span style="mso-spacerun: yes;"></span>Why am I indifferent to some work after the first look? What am I looking at? What am I seeing? </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;">Dialogue, whether conscious or not, underpins the process of seeing.<span style="mso-spacerun: yes;"> </span></span></span><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;">As the viewer, of course I am always a participant in the conversation and play a major role in shaping its direction because of my own interests. But the direction of the dialogue on any given day is always shifting -- it may focus on exchanges between the work of different artists in a group exhibit, or my own give and take with a single work of art. It may explore how several works in a solo exhibit inform one another, or why it is that a particular painting leaves me smiling (or indifferent). </span><span style="font-size: 11.0pt; line-height: 115%;"></span></span><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;">The exchange begins when the work beckons me in, whether demanding that I take notice of it, or coyly cajoling. </span></span>My willingness to engage is not guaranteed—I’m opinionated and
at times impatient. But when the impatience vanishes, the thoughts that follow help me better understand my own work.<span style="mso-spacerun: yes;"></span></span></span>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;">In response to several recent exhibits along with (actual) conversations with friends, I've decided to write about what happens in my head when I look at and converse with art. Rather than focusing on whether I find work appealing or not, these posts will be about uncovering what I notice and why. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: blue;"><span style="color: black;">This series of posts begins with thoughts about <span style="color: red;"><a href="http://keyprojectsartspace.com/current/type-of-abstraction/statement" target="_blank"><b>TYPE OF ABSTRACTION</b></a><b><a href="http://keyprojectsartspace.com/current/type-of-abstraction/statement" target="_blank"> @ Key Projects,</a> </b></span> </span></span>an exhibit featuring the work of <a href="http://www.anke-becker.de/en/works/" target="_blank"><b>Anke Becker</b></a>, <a href="http://enricogomez.com/" target="_blank"><b>Enrico Gomez</b></a>, <a href="http://heidineilson.com/" target="_blank"><b>Heidi Neilson</b></a> and
<a href="http://karen-schiff.com/" target="_blank"><b>Karen Schiff</b></a> and curated by <a href="http://www.patriciazarate.com/" target="_blank"><b>Patricia Zarate</b></a>. Each of the artists integrate text or
type (letter forms) in their work, transforming it in a manner that <span style="color: #4f81bd; mso-themecolor: accent1;"><span style="color: black;">removes any expectation that
text is there to be read.</span><span style="mso-spacerun: yes;"><span style="color: black;"> Although certainly, the specific texts being referenced have significance and one can analyze the intentions that motivate references to text, in this post my primary interest is visual. </span></span></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;">First, an overview of the exhibit (for <a href="http://keyprojectsartspace.com/current/type-of-abstraction" target="_blank">additional installation photos click here</a>). <span style="font-size: xx-small;">Photos provided by Key Projects, Tamar Zinn, and artist websites.</span></span></span></span></span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;">left to right: GOMEZ,
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Times,"Times New Roman",serif;">left to right: SCHIFF, BECKER, NEILSON, SCHIFF, BECKER</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Times,"Times New Roman",serif;">left to right: SCHIFF, BECKER</span></span></td></tr>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;">After entering the exhibit, I immediately noticed pieces that were bold and graphic counterbalanced by works that were (at least from the distance) far quieter. Black, white, tan and grays were the predominant palette, punctuated by a few pieces that were more colorful, but still subdued. Much of the work was new to me.</span></span></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;">After that initial look, my mind starting pinging around the room. I took notice of the high contrast, rectangular volumes in the work of Enrico Gomez across from the black and gray discs that covered the surface of Anke Becker's drawings. Straight / round. Forms hovering over a field / carpet page. Powerful dimensionality / flattened silhouettes. Additionally, I saw that these two artists were also connected by movement and rhythm across the page -- in Gomez's case, stepping down each drawing with an emphatic 'here I am' and with Becker's work, 'come with me as I move across the page.' Gomez deconstructs the letter E, while Becker obscures the text of <i>Das Kapital</i> with the silhouettes of coins. If you look closely at Becker's drawings, you can see the text it covers.</span></span></span></span></span></div>
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Hope Alive I</i>, 2014 18 x 14”</span></span></div>
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compressed charcoal on paper</span></span>
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<span style="font-size: x-small;">ANKE
BECKER (l) <i>Mein Kapital N<sup>o</sup>29</i>, 2014
(r) <i>Mein Kapital N<sup>o</sup>15</i>,
2014</span></div>
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</span><br />
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<span style="font-size: x-small;">Each 8 x
11.25” indian ink on book pages of Karl
Marx’ “Das Kapital”</span></div>
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<br /></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;">In a corner adjacent to Becker's drawings was a suite of six small pieces by Karen Schiff. Unlike the more insistent presence of Gomez and Becker, this work quietly invited me over for a closer look. In each piece, the whitewashed text of a book is traversed by several lines of silk thread in pathways that zigzag down the page. The stitching appears to connect the ending punctuation of barely visible paragraphs as if to accentuate the pauses in the text. While at first the work seems visually subdued, the movement through it was active and angular. </span></span></span></span></span></div>
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<span style="font-size: x-small;">KAREN
SCHIFF <i>Dots Connecting (Nancy Drew),</i> study, 2015</span></div>
<span style="font-size: x-small;">
</span><br />
<div align="center" class="bodytextCxSpLast" style="text-align: center;">
<span style="font-size: x-small;">7 ¼ x 31
¾” (detail: 2 of 6 parts) latex paint & silk on book pages</span></div>
<span style="font-size: x-small;">
</span></td></tr>
</tbody></table>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;"><br /></span></span></span></span></span></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;"><br /></span></span></span></span></span></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;">Turning again, I moved from line and angularity back to dots and grids.</span></span></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;">Hanging on the wall between the four drawings by Gomez was Heidi Neilson's airy scroll covered with a grid of dot-like notations. Before I even drew close to it, it looked like something I would want to touch--the surface appeared to be bumpy. And unlike the tight fields of dark discs in Becker's work, Neilson's dots were spaced apart and the grid laid down in an irregular weave. It wasn't until I moved in quite close that I understood why I wanted to touch the surface--each dot was collaged onto the paper (produced by hole-punching the sentence endings from Edward Bellamy's <i>Looking Backward)</i>.</span></span></span></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Times,"Times New Roman",serif;">HEIDI NEILSON <i>Untitled,
(Looking Backward)</i> undated</span></span></div>
<span style="font-size: x-small;"><span style="font-family: Times,"Times New Roman",serif;">
41 ½ x 18” mixed media collage</span></span>
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</div>
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<tr><td style="text-align: center;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCcuGzq9sFS1J5vH6hAcMhz5jt_JZwSKDbe1Y6AJDPwiAC1XtlNmCR2iXj-CR9MwKZKD8iSEF_QuAoqaOc2i1AXIpbVM1jm-2UCTO5YHAHC_49b3mlISR207odrn-IfYsaA7uYCyBuj40s/s400/NEILSON+scroll+close+up.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;"></span></span></span></span></span><br />
<div align="center" class="bodytext" style="text-align: center;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;"><span style="font-size: x-small;"><span style="font-family: Times,"Times New Roman",serif;">detail of above: HEIDI NEILSON <i>Untitled,
(Looking Backward)</i> undated</span></span></span></span></span></span></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;">
<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: xx-small;">
</span></span></span></span></span></span></span></td></tr>
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<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;">Hanging directly across from Neilson's scroll piece were three intaglio prints, made up of horizontal bands. While this work was difficult to read from the distance, I could see that the images were structured in tightly packed rows. Moving in closer to investigate, the rows seemed to have the rhythm of written language -- each row a series of small packets of varying length punctuated by narrow vertical spaces. The white spaces were highly embossed and I could imagine reading across the surface with my fingertips. Not surprisingly, these prints are also the work of Heidi Neilson. Although the three prints and the scroll are made with different systems of mark-making, they were connected through Neilson's affinity for structure and the inclusion of tactile elements. Neilson made these prints by setting up metal type, letter by letter, tiny piece by tiny piece, then inking the back side and printing, only revealing the text through the title of each print.</span></span></span></span></span></div>
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<span style="font-size: x-small;">HEIDI
NEILSON <i>Miranda rights verso (Futura bold
condensed 48pt</i>), 2006 </span></div>
<span style="font-size: x-small;">
<span style="font-family: Cambria;">12 x 8” intaglio print</span></span>
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<span style="font-size: x-small;">HEIDI
NEILSON <i>Let me not to the marriage of true minds (Century Schoolbook 10pt),</i>
2006</span></div>
<span style="font-size: x-small;">
</span><br />
<div align="center" class="bodytextCxSpLast" style="text-align: center;">
<span style="font-size: x-small;">2.75
x 3.75” intaglio print</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;">While Nielson's intaglio prints were </span></span></span></span></span><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;">made</span></span></span></span></span> by with numerous carefully placed pieces of metal type, also on exhibit were several pieces by Karen Schiff printed using small inked rubber stamps. The only work in the exhibit that broke away from black, white, tan and gray (the typical palette for printed text), I also found that these pieces embraced pattern in a manner that was somewhat playful. The same letter or symbol is stamped repeatedly across the grid, but gradually disappears into the overall pattern of the page. Irregular forms then emerge from the grid after Schiff accentuates some areas of the page with colored inks. What was striking was the irregularity of the prints -- not what we might expect by making the same mark with the same tool numerous times.</span></span></span></span></span></div>
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<span style="font-size: x-small;">KAREN
SCHIFF (left to right) <i>Oo (Ghost Shape)</i>, 2015 <i>+x
(Interlineal Ghosts),</i> 2015 <i>Xo (Aporia)</i>, 2015</span></div>
<span style="font-size: x-small;">
</span><br />
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<span style="font-size: x-small;">Each 10 5/8 x
8” ink & graphite on stamp album
paper</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;">Installed by itself on a set of shelves emptied of books was one additional piece by Heidi Neilson. Set apart from the main exhibit area and the last thing I saw on my way out, it served to wrap up the conversation. The presentation was bold, but the piece sat patiently, waiting to be noticed. If you didn't read the title, the circle set in the square set on the horizontal bands of the shelves could have been a reference to typography, or not. </span></span></span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVYXO3d_ZHvQNPN8soQRWLqRgjy51lzfnnIOrAeHMlGKU180sG4iqmgKYtfSUdj9MlcK5W_C8BDpDhT7yQ6Rba-vp_rlv1bG038i0Npczqa-ZnZ58j8NvrHeCfVgDBAPG_NBdGITEuBbnP/s1600/TypeOfAbstraction_Neilson.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVYXO3d_ZHvQNPN8soQRWLqRgjy51lzfnnIOrAeHMlGKU180sG4iqmgKYtfSUdj9MlcK5W_C8BDpDhT7yQ6Rba-vp_rlv1bG038i0Npczqa-ZnZ58j8NvrHeCfVgDBAPG_NBdGITEuBbnP/s400/TypeOfAbstraction_Neilson.jpg" width="315" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Times,"Times New Roman",serif;">HEIDI NEILSON <i>Typography of the Period: A Brief Introduction,</i> 2003 8.5 x 8.5 x .25"</span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;"></span><span style="color: black;"></span></span></span></span></span><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 11.0pt; line-height: 115%;"><span style="color: #4f81bd; mso-themecolor: accent1;"><span style="mso-spacerun: yes;"><span style="color: black;">My exchange with the works in this exhibit led me to consider form,
repetition, pattern, movement, rhythm, the density or airiness of the
mark-making, and reinforced my delight in works that quietly reveal their tactile qualities. What thoughts went through your mind after seeing this work? How do your own preoccupations shape how you see?</span></span></span></span></span></div>
Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com2tag:blogger.com,1999:blog-5008393394459043474.post-73186920619807236942015-03-02T23:07:00.001-05:002015-03-03T07:50:54.811-05:00A glimpse of Bushwick: SCHEMA / TSA / TRANSMITTER<span style="font-family: "Trebuchet MS", sans-serif; font-size: xx-small;">Exhibits featured in this post:</span><br />
<a href="http://schemaprojects.com/exhibitions-future.html" target="_blank"><span style="color: red;"><span style="font-family: "Trebuchet MS", sans-serif;">SCHEMA PROJECTS: Peregrinations, Constellations</span></span></a><br />
<a href="http://newyork.tigerstrikesasteroid.com/tagged/generative-processes" target="_blank"><span style="color: red;"><span style="font-family: "Trebuchet MS", sans-serif;">TSA: Generative Processes</span></span></a><br />
<a href="http://www.transmitter.nyc/" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="color: red;">TRANSMITTER: 6x6</span> </span></a> <br />
<br />
<span style="font-family: "Trebuchet MS", sans-serif;">With the latest installment of Bushwick's Beat Nite just a few days away (Friday, March 6) here is a preview of 3 exhibits in the area.</span><br />
<br />
<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: large;"><a href="http://schemaprojects.com/exhibitions-future.html" target="_blank"><span style="color: red;"><b>SCHEMA PROJECTS: Peregrinations, Constellations</b></span></a></span> </span><br />
<span style="color: red;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: x-small;"><span style="color: black;">through March 29</span></span><b><span style="font-family: "Trebuchet MS", sans-serif;"> </span></b></span><span style="font-family: "Trebuchet MS", sans-serif; font-size: x-small;">92 St. Nicholas Ave (L train to DeKalb) </span><br />
<span style="font-family: "Trebuchet MS", sans-serif;">This splendid group exhibit, ably curated by Jeanne Heifetz, features works on paper by 13 artists who engage in repeated mark-making-- the marks are drawn, painted, stitched, torn, stamped or typed. The resulting drawings are a reflection of extended conversations between the marks and the mark-makers. </span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-family: "Trebuchet MS", sans-serif;">Ranging in scale from intimate to wall-size, they merit close looking to take in the richness of the surfaces and density of the marks.</span> Whether executed through an intuitive process or one that is directed, whether the work begins with a desire for control or is a surrender to the unknown, each of these drawings offers a mesmerizing aggregation of a sequence of moments. <i><span style="font-size: x-small;">Images courtesy of Schema Projects.</span></i> </span><br />
<span style="font-family: "Trebuchet MS", sans-serif;"> </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv98y8sts6IAJKc9asAcvukNMrwKuXWlPKXd24soIW93Qa18Z_W-cfWNcn-S0o0fRdONzeHxMHBDA7jy69JjKI6-KTqhspHwGpmH-K6jbroLIfkqWyddwuubSYu0d4qKNf8lsgABoHf006/s1600/O+MARA_6518.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv98y8sts6IAJKc9asAcvukNMrwKuXWlPKXd24soIW93Qa18Z_W-cfWNcn-S0o0fRdONzeHxMHBDA7jy69JjKI6-KTqhspHwGpmH-K6jbroLIfkqWyddwuubSYu0d4qKNf8lsgABoHf006/s1600/O+MARA_6518.jpg" height="320" width="243" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;">SHARYN O'MARA <i>Untitled 6518</i>, 2015 Ink on vellum 9.75" x 8.25"</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwLDoMCM6jX1gC82R7Xg_OjNLejieCljyA5BMOtuUWUpKtlTOtBCn6ZMM3DaVbm3sytk8MhJfbQQNfMCT6sBSKr2_-PT0cFswxD0VTTW2cxLAfJw0ZH-z-3ebO1amm5qgfy3eUIMDRiOO4/s1600/HO_tributary.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwLDoMCM6jX1gC82R7Xg_OjNLejieCljyA5BMOtuUWUpKtlTOtBCn6ZMM3DaVbm3sytk8MhJfbQQNfMCT6sBSKr2_-PT0cFswxD0VTTW2cxLAfJw0ZH-z-3ebO1amm5qgfy3eUIMDRiOO4/s1600/HO_tributary.jpg" height="320" width="235" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;">COLLEEN HO <i>Tributary</i>, 2014 ripped paper drawing 22 x 30"</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQg3XsdmIWGgLsmfJLbp_bxHadWPjS0700v4TCH6JftsVoDueV7ykTcrhqJGQGvQWwULCIjk215K9QIGpbLZ4W7g8Eul60mKxsH9d23NE6UPtJaG4BMkghPHq6Xuem6d6HzoFgAaA5k-23/s1600/BARLETTA_+Untitled+(Big%2BMountain).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQg3XsdmIWGgLsmfJLbp_bxHadWPjS0700v4TCH6JftsVoDueV7ykTcrhqJGQGvQWwULCIjk215K9QIGpbLZ4W7g8Eul60mKxsH9d23NE6UPtJaG4BMkghPHq6Xuem6d6HzoFgAaA5k-23/s1600/BARLETTA_+Untitled+(Big+Mountain).jpg" height="400" width="311" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;">EMILY BARLETTA <i>Untitled (Big Mountain), </i>2011 thread and paper 18 x 24"</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR7B1DQZV8plLbUyjpjFm-qiUoRxaO_6hRc41f5IDaD2lj3Q0ZavO-hm3Yej_qUItJYEE2W68PlblnhNU8S40dqm05q3EMgpkJNJPn1ESaNyD879AEDtiBOMjVLj-TGGlNiiyr3xeTRgR2/s1600/OVERBAY_Buzz.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR7B1DQZV8plLbUyjpjFm-qiUoRxaO_6hRc41f5IDaD2lj3Q0ZavO-hm3Yej_qUItJYEE2W68PlblnhNU8S40dqm05q3EMgpkJNJPn1ESaNyD879AEDtiBOMjVLj-TGGlNiiyr3xeTRgR2/s1600/OVERBAY_Buzz.jpg" height="312" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;">PAULA OVERBAY <i>Buzz, </i>2012<i> </i> acrylic on paper 18 x 25"</span></span></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil-YqHtGnmj7J3Nmob8VUmD1n6uynsAv0pvG_eHVp3iG47WhL4eTbAfXLrKj4IJZk7CMdlwdwgyCYwV91fKfPr0LkkTlZPBO6q3IKhBtDBR55BR6gjSxqV-ONsGHdv7dP7PnVSmIpmzL8p/s1600/FULKERSON_Accretion+Disc+16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil-YqHtGnmj7J3Nmob8VUmD1n6uynsAv0pvG_eHVp3iG47WhL4eTbAfXLrKj4IJZk7CMdlwdwgyCYwV91fKfPr0LkkTlZPBO6q3IKhBtDBR55BR6gjSxqV-ONsGHdv7dP7PnVSmIpmzL8p/s1600/FULKERSON_Accretion+Disc+16.jpg" height="270" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;">CLINT FULKERSON <i>Accretion Disc 16</i>, 2015 graphite, ink, and acrylic on paper on wood panel 9 x 9"</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho2FNK7QB5qj8JN9B2jk9xWql2pX_FfaH1ZvKwtiQ8BsOcCIwiA8bhMwSzjwacMYc7T9SlXuBCUdXikAKr2J7ZD5yIjqHKcxxXZsMnaHozsVxSPvJ0rK-OxmNwV_yb9ZtasgGfbhd9bF6h/s1600/ROSENTHAL+Tomato+Pie+%231.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho2FNK7QB5qj8JN9B2jk9xWql2pX_FfaH1ZvKwtiQ8BsOcCIwiA8bhMwSzjwacMYc7T9SlXuBCUdXikAKr2J7ZD5yIjqHKcxxXZsMnaHozsVxSPvJ0rK-OxmNwV_yb9ZtasgGfbhd9bF6h/s1600/ROSENTHAL+Tomato+Pie+%231.jpg" height="320" width="314" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">MIA ROSENTHAL </span></span><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;"><i>
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<i>Francoluigi’s Square Tomato Pie Slice #1, </i>2014
</i> Ink on paper 7.75" X 7.75"</span></span></td></tr>
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</span><br />
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">The exhibit includes works by: Emily Barletta, Janice Casell, Clint Fulkerson, Colleen Ho, Sarah Morejohn, Sharyn O'Mara, Paula Overbay, Jessica Rosner, Mia Rosenthal, Karen Schiff, Drew Shiflett, Allyson Strafella, Robert Walden</span></span></div>
<span style="font-family: "Trebuchet MS", sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS", sans-serif;"><br /></span>
<span style="font-size: large;"><span style="font-family: "Trebuchet MS", sans-serif;"><b><span style="color: red;"> </span></b></span></span><br />
<span style="font-size: large;"><a href="http://newyork.tigerstrikesasteroid.com/tagged/generative-processes" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;"><b><span style="color: red;">TSA: Generative Processes | Alex Paik & Debra Ramsay</span></b></span></a></span><br />
<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: x-small;">through March 29 1329 Willoughby Avenue #2A (L train to Jefferson)</span></span><br />
<br />
<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Alex Paik & Debra Ramsay each work within the constraints of a personal and highly systematic practice. And both find that those very constraints free them to manipulate and reconfigure elements of their choosing.</span></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">DEBRA RAMSAY began her project, <i>Landscape as Time</i>, during a residency in upstate NY. She walked the same trail in the woods through the seasons, photographically documenting the colors at specific spots along the trail as well as recording the length of the day. Ramsay then selected data from the photographs and mixed colors using a computer application. Although relying on a rigorous, yet in many ways arbitrary system, Ramsay's decisions about how to convey this accumulated data gave rise to a body of work that is inviting, light-filled and evocative. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwMuEFrBiH6Q5IY1epwyffCjvOLCsVbpkQb8GloJ4nzS7TElO1RKFJEvF9zYNRo6_MxnYviN4af0Ld8b2Jzt-Al7YI3LFZXlmFmk4EfHaSRKblmknu2I6yFepAw4Tv1qNxngpViX4Iz61X/s1600/RAMSAY+_detail+P2200006.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwMuEFrBiH6Q5IY1epwyffCjvOLCsVbpkQb8GloJ4nzS7TElO1RKFJEvF9zYNRo6_MxnYviN4af0Ld8b2Jzt-Al7YI3LFZXlmFmk4EfHaSRKblmknu2I6yFepAw4Tv1qNxngpViX4Iz61X/s1600/RAMSAY+_detail+P2200006.jpg" height="222" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">DEBRA RAMSAY detail: <i>Color changes in the forest, during one year, at the same location</i>, 2015 acrylic on Juan silk 6 " x 12'9"</span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><br /></span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><br /></span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><br /></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUIJaZVgUIxlFh3GPCu8rQv1DiC00UkgCiQw-M0TDpA-jwQW5h8hYGjz3nk4d_Pl4LmxHWLMATWfdL9B8-gIhODW3BFRckZZf650pa3RnRPVb35AM6Iqn14YTtSYaQDl4Bi29lBXJ8OOSv/s1600/Ramsay+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUIJaZVgUIxlFh3GPCu8rQv1DiC00UkgCiQw-M0TDpA-jwQW5h8hYGjz3nk4d_Pl4LmxHWLMATWfdL9B8-gIhODW3BFRckZZf650pa3RnRPVb35AM6Iqn14YTtSYaQDl4Bi29lBXJ8OOSv/s1600/Ramsay+.jpg" height="232" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">DEBRA RAMSAY <i>Color changes in the forest, during one year, at the same location</i>, 2015 acrylic on Juan silk 6 " x 12' 9"</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr2A7-W4ZlGX9cfeLlj_FoQmJA84BZrXyYFGrdJQzzwjzSynasZ_okgebkX3B8BJ4riv3WBqzXAaKRwwWd0NK-I60jcWq_u4v3LlO7NWTNQh698H_kmy9HkRhBfI-QCAjcdPpO90AzIPV0/s1600/Ramsay2_days+grow+longer.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr2A7-W4ZlGX9cfeLlj_FoQmJA84BZrXyYFGrdJQzzwjzSynasZ_okgebkX3B8BJ4riv3WBqzXAaKRwwWd0NK-I60jcWq_u4v3LlO7NWTNQh698H_kmy9HkRhBfI-QCAjcdPpO90AzIPV0/s1600/Ramsay2_days+grow+longer.jpg" height="317" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">DEBRA RAMSAY top: <i>The days grow longer in the spring</i>, 2014 bottom: <i>The days grow shorter in the fall</i>, 2014 acrylic on Dura-Lar each 20 x 61"</span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><br /></span></span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">ALEX PAIK cites his study of classical music as in influence in how he develops his work. Much in the way a composer takes a musical motif and "it is repeated, turned upside-down, transposed, and folded upon itself," Paik selects a geometric unit and then manipulates it through repetition, changes in color and orientation, and gradually shapes the elements into a larger whole. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGLi_e5k4kPQwLhu1T-QrZBMvt4OjRwznHECpSJ41JM7Rfjw0gTpu3hSHxzc7GXsPoUlc4Ven8OFpsDh9zNsIcPfPiSDr71_7WKPDklmZ0tVdBGh62RPDpGmlTc1dE1855BnnZkaIQxl9X/s1600/PAIK_V(%2BGreens)%2B08.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGLi_e5k4kPQwLhu1T-QrZBMvt4OjRwznHECpSJ41JM7Rfjw0gTpu3hSHxzc7GXsPoUlc4Ven8OFpsDh9zNsIcPfPiSDr71_7WKPDklmZ0tVdBGh62RPDpGmlTc1dE1855BnnZkaIQxl9X/s1600/PAIK_V(+Greens)+08.jpg" height="400" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">ALEX PAIK <i>V (Greens), </i>2014 gouache, colored pencil, paper 26 x 16 x 3"</span></span></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2XFt4rd9WtLrzXh1i7zfHqrGKqBXccZ50dl6ISmpPAoOn4evThceYDP8SVmlkQnnlycbwdxpGvEfWaJ_MjkImfvN-EqNper5hkC_LmDLW6OA21vklw4CY1W1SqtJsP_AdPxWku8FghhHw/s1600/tumblr_nk7f6gvD7H1rirnv7o1_1280.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2XFt4rd9WtLrzXh1i7zfHqrGKqBXccZ50dl6ISmpPAoOn4evThceYDP8SVmlkQnnlycbwdxpGvEfWaJ_MjkImfvN-EqNper5hkC_LmDLW6OA21vklw4CY1W1SqtJsP_AdPxWku8FghhHw/s1600/tumblr_nk7f6gvD7H1rirnv7o1_1280.jpg" height="400" width="261" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">ALEX PAIK <i>Modular Wall Installation: Hexagon (Cube)</i> gouache, colored pencil, paper, nails dimensions variable</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigkuUBxVdIOjVn8Hodxs4yyV8XJzVtIRzjbZ8yErmAFZMDyN7-gG671pmJrBFpQ2jknJC_qs6AYlCz4UVxXjkhK1jcO205jqNVzx7CVNAttp-Ti_2NxZNvlX7PxUSDVxZb9xCgX6pAQcH0/s1600/tumblr_nk7f6gvD7H1rirnv7o7_1280.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigkuUBxVdIOjVn8Hodxs4yyV8XJzVtIRzjbZ8yErmAFZMDyN7-gG671pmJrBFpQ2jknJC_qs6AYlCz4UVxXjkhK1jcO205jqNVzx7CVNAttp-Ti_2NxZNvlX7PxUSDVxZb9xCgX6pAQcH0/s1600/tumblr_nk7f6gvD7H1rirnv7o7_1280.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">detail of above</td></tr>
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<span style="font-size: large;"><a href="http://www.transmitter.nyc/" target="_blank"><span style="color: red;"><b><span style="font-family: "Trebuchet MS", sans-serif;">TRANSMITTER: 6 x 6</span></b></span></a></span><br />
<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: x-small;">through March 29 1329 Willoughby Avenue #2A (L train to Jefferson)</span></span><br />
<span style="font-family: "Trebuchet MS", sans-serif;">6x6 features the work of 6 artists, each chosen by a different member of the Transmitter curatorial collective in an arbitrary but systematic manner. While the curatorial conceit may not lend itself to obvious conversations between these artists, there is however, plenty to see. <i><span style="font-size: x-small;">Images courtesy of Transmitter.</span></i></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">JEFF FELD is represented with a group of small (8x10") mixed media wall pieces as well as a larger sculpture. The work has formal elements as well as a sense of play. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjThEwgIge1QX8F-r_wm3GOj5rJF9kBs6m2s2pPE2rUmKuYDvAMQjGo589llOpJf5oYVKQjQBVjRLcdY-nOk9JxrL0p2oqbM5U3kXgNfRZocjI955LFpZFOJ2IKqCDrDeHOr-rJ_NXI0tXi/s1600/JEFF+FELD-7.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjThEwgIge1QX8F-r_wm3GOj5rJF9kBs6m2s2pPE2rUmKuYDvAMQjGo589llOpJf5oYVKQjQBVjRLcdY-nOk9JxrL0p2oqbM5U3kXgNfRZocjI955LFpZFOJ2IKqCDrDeHOr-rJ_NXI0tXi/s1600/JEFF+FELD-7.jpg" height="400" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">JEFF FELD Untitled, 2012 mixed media on paper 8 x 10"</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDVTYRmtPuA7rjBCFua8DTnK74sUmS42juEH_ITThQh0-cwwOcR-IMxyDKqSGE9fPg9bkMx70r5UHqe5f48sOPN8QykCI49leww4CV2-esbjH4oeeoZynp8siFUQFtBXsV4g2ZNL11KEZb/s1600/JEFF+FELD-9.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDVTYRmtPuA7rjBCFua8DTnK74sUmS42juEH_ITThQh0-cwwOcR-IMxyDKqSGE9fPg9bkMx70r5UHqe5f48sOPN8QykCI49leww4CV2-esbjH4oeeoZynp8siFUQFtBXsV4g2ZNL11KEZb/s1600/JEFF+FELD-9.jpg" height="400" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">JEFF FELD Untitled, 2012 mixed media on paper 8 x 10"</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbrD5rMDJM3qMvCKoDnxcTxwMgq0YWFZ2xYonIMvsg75kshIta76TIil0hvYezmMPYJC7j1rrjKVjBYaanzAeeSM6HGCHlTiBCgxuSz8RNUdVAvxp0Ch-MBVDMdr23BCE17f1PCWjVy0z_/s1600/JEFF+FELD-24.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbrD5rMDJM3qMvCKoDnxcTxwMgq0YWFZ2xYonIMvsg75kshIta76TIil0hvYezmMPYJC7j1rrjKVjBYaanzAeeSM6HGCHlTiBCgxuSz8RNUdVAvxp0Ch-MBVDMdr23BCE17f1PCWjVy0z_/s1600/JEFF+FELD-24.jpg" height="400" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">JEFF FELD <i>The intention is pure and so on</i>, 2009 - 2012 38 x 44 x 30"</span></span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;">SANDRA ONO offers two intensely tactile sculptures-- the draped forms of the wall piece (foil and glue) have an organic quality, while the floor piece has a dense and tarry presence.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg01GYTC3v2p39GZD_HHY0GgxYNOvOjzFPnUO4ljrg0Yhex1CuBZL43_6RVldEI1XBuWmpyDtdDaNckuXtURVd_4rtewE1TiAZzP5QnFKF34pzwy_4uqoVN05knoHfX0uXExdNHvShco4Ck/s1600/SANDRA+ONO-6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg01GYTC3v2p39GZD_HHY0GgxYNOvOjzFPnUO4ljrg0Yhex1CuBZL43_6RVldEI1XBuWmpyDtdDaNckuXtURVd_4rtewE1TiAZzP5QnFKF34pzwy_4uqoVN05knoHfX0uXExdNHvShco4Ck/s1600/SANDRA+ONO-6.jpg" height="400" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SANDRA ONO <i>Untitled (1405), </i>2014 Foil and glue 14 x 13 x 2"</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIawakPKUY_HKi6uNVPBTYn9XzPOo7WUUzLVonrVsx2SjA9wuf-K8vZO_yf_44UWPM_nJq9yhHgWlTriIGxAEK9n8wT4BQwxXqs0VRXe8FFlsx043Z7amhFJ9uJAiC8RMy0ziodQdpi7oh/s1600/SANDRA+ONO+23.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIawakPKUY_HKi6uNVPBTYn9XzPOo7WUUzLVonrVsx2SjA9wuf-K8vZO_yf_44UWPM_nJq9yhHgWlTriIGxAEK9n8wT4BQwxXqs0VRXe8FFlsx043Z7amhFJ9uJAiC8RMy0ziodQdpi7oh/s1600/SANDRA+ONO+23.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SANDRA ONO <i>Untitled (1403), </i>2014 30 x 30 x 7</span></span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;">A first look at LYNN SULLIVAN's sculptures suggest ancient creatures, but the titles (Wrapped Ships) reflect both their starting point and the transformation that has taken place. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2KU5jj_urVbr_bf3ZtmJklWxyblG9r-JJWLvGiW6_SIG5Plpnel9AOxQj8ja3u-VYYre9O4Ocd_P5Si3YtF4LvlBjtDWWRhUpO9EF-mM1f8Bm1zeVHJVM4c39Fjsb5SFNwmZQx9CFEEGW/s1600/LYNN+SULLIVAN-18.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2KU5jj_urVbr_bf3ZtmJklWxyblG9r-JJWLvGiW6_SIG5Plpnel9AOxQj8ja3u-VYYre9O4Ocd_P5Si3YtF4LvlBjtDWWRhUpO9EF-mM1f8Bm1zeVHJVM4c39Fjsb5SFNwmZQx9CFEEGW/s1600/LYNN+SULLIVAN-18.jpg" height="640" width="425" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">LYNN SULLIVAN <i>Wrapped Ships (3), </i>2013 plaster, paper pulp, ship models, cement blocks 34 x 14 x 11"</span></span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;">The exhibit includes work by: John Bohl, Jeff Feld, Skye Gilkerson, Sandra Ono, Erik Shane Swanson, and Lynn Sullivan.</span>Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com0tag:blogger.com,1999:blog-5008393394459043474.post-78778555827751911012015-01-25T14:01:00.003-05:002015-01-26T11:06:33.321-05:00Kellyann Burns and Siri Berg: Two approaches to geometric abstraction <span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">It is of course not news that there has always been great diversity </span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">within the arena of geometric abstraction. Informed by the work of Mondrian and Malevich, generations of painters and sculptors have worked with the vocabulary of geometric shapes to convey their ideas about spatial relationships and color, as well as notions of time and spirituality. While some artists within this tradition have chosen to remove evidence of the making (creating uninflected surfaces with hard-edged forms), others have partnered geometry with lush and more painterly approaches. Some artists developed pattern-based systems for developing their compositions, while others have relied on intuition in developing their ideas. The work ranges in scale from intimate to monumental and may present as cerebral or celebratory. Clearly, the universe of geometric abstraction encompasses a wide range of expressive possibilities.</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Two exhibits currently on view in Lower East Side galleries offer a glimpse of different approaches within the realm of geometric abstraction and make evident the limits of trying to define this tradition in simple terms. At the end of the post are links to additional resources about geometric abstraction.</span></span><br />
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<span style="color: #cc0000;"><span style="font-size: large;"><b><span style="font-family: "Trebuchet MS", sans-serif;"><a href="http://www.mckenziefineart.com/exhib/burns2015exhb.html" target="_blank">KELLYANN BURNS <span style="font-size: small;">[McKenzie Fine Art through February 8]</span></a><span style="font-size: small;"> </span></span></b></span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">In an exhibit of approximately twenty paintings (completed in 2013-2014), Burns offers boldly hued, hard-edged abstraction imbued with complex history. </span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">She incorporates a variety of geometric forms into compositions with diverse spatial implications. </span></span>The exhibit features several groupings of intimately sized paintings (10 x 8") as well as larger pieces (up to 60 x 60"). While each painting has been sanded to a smooth finish, its surface has richness and depth. Large areas of the surface are matte, while other areas are glossy. A close viewing often reveals underlayers that have been exposed by the repeated sanding. The edges of the paintings are uneven and rich with accumulated layers of paint, another way that Burns shares some of the history of the making. <span style="font-size: x-small;">Images courtesy McKenzie Fine Art.</span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7JMPW2zpG5HRj0ZSU0fR0Ie-XXejS3MfKT6eFRo5q3rqvxECLO-KYD1r0-JjvBCodEKjlPP0-KgPyhiAikpB4fTU_pURP4HlqPHFAlJMQk_3JlMEyWsnHP7oU_BSeY7xHsrhUBi3h7LDc/s1600/BURNS+KB10015F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7JMPW2zpG5HRj0ZSU0fR0Ie-XXejS3MfKT6eFRo5q3rqvxECLO-KYD1r0-JjvBCodEKjlPP0-KgPyhiAikpB4fTU_pURP4HlqPHFAlJMQk_3JlMEyWsnHP7oU_BSeY7xHsrhUBi3h7LDc/s1600/BURNS+KB10015F.jpg" height="400" width="396" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">KELLYANN BURNS 3:18 PM 9/22/14, 2014 Oil on alu-dibond 60 x 60"</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsGN_-hZHrj_fTnWHBLriSiHFG3Epd-Ss-i-RwiPVi363aDhb59uICW5p5E66X-pseRTFZ2fc22vSUIgQxz_v3_ZbajmpXPx9jwiWhqmo0b4SnxLBMXbH-c6cfxLUKlpGcm3NwWYUWmr0u/s1600/BURNS+KB10022F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsGN_-hZHrj_fTnWHBLriSiHFG3Epd-Ss-i-RwiPVi363aDhb59uICW5p5E66X-pseRTFZ2fc22vSUIgQxz_v3_ZbajmpXPx9jwiWhqmo0b4SnxLBMXbH-c6cfxLUKlpGcm3NwWYUWmr0u/s1600/BURNS+KB10022F.jpg" height="400" width="301" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">KELLYANN BURNS 11:22 AM 5/22/13, 2013 Oil on alu-dibond 40 x 30"</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_u99xiZaIuXYqP19UOApFktuU4nnIgBb1ERP7Oow-g3SxvdjeABAZnFc4hXaBvLpEYfyILxCkCLzinKuDQoLK5Rv4PM0NutaU10LgvJteCAzopBGz-X9qCjpOdr-fYxjTC48ZjUuQkB23/s1600/BURNS+KB10018F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_u99xiZaIuXYqP19UOApFktuU4nnIgBb1ERP7Oow-g3SxvdjeABAZnFc4hXaBvLpEYfyILxCkCLzinKuDQoLK5Rv4PM0NutaU10LgvJteCAzopBGz-X9qCjpOdr-fYxjTC48ZjUuQkB23/s1600/BURNS+KB10018F.jpg" height="400" width="393" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">KELLYANN BURNS 2:09 PM 2/14/14, 2014 Oil on alu-dibond 48 x 48"</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg06DRzOiHpN2xLr4batd1E35PdOrCwC48PcH6vwaMmnjI0urtJC40zIAAnxKiRQ372JckKBejmd-bR2kg4sKT6LEoevtCgCJ3QrxR8cFlpnQ3yJc9lErr43_czXmcz9hg4zKAIR5Ciu6n/s1600/BURNS+KB10005F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg06DRzOiHpN2xLr4batd1E35PdOrCwC48PcH6vwaMmnjI0urtJC40zIAAnxKiRQ372JckKBejmd-bR2kg4sKT6LEoevtCgCJ3QrxR8cFlpnQ3yJc9lErr43_czXmcz9hg4zKAIR5Ciu6n/s1600/BURNS+KB10005F.jpg" height="320" width="263" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">KELLYANN BURNS 12:40 AM 9/18/14, 2014 Oil on alu-dibond 10 x 8"</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidbVsXfeC6zs42cNtYbMm6DJWu2xk8r6PnnEQo4Dkbmy-I3si5iGImHcwUSt9nBOIsIkNUCx7DzNA12E_Gwf5mOUBfr_slZ6dSm53JCZ6E5tg5D0nqzvb8GtU_Zzaj6hsC-1i8YDB6pRMQ/s1600/BURNS+KB10004F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidbVsXfeC6zs42cNtYbMm6DJWu2xk8r6PnnEQo4Dkbmy-I3si5iGImHcwUSt9nBOIsIkNUCx7DzNA12E_Gwf5mOUBfr_slZ6dSm53JCZ6E5tg5D0nqzvb8GtU_Zzaj6hsC-1i8YDB6pRMQ/s1600/BURNS+KB10004F.jpg" height="286" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">KELLYANN BURNS 10:42 AM 9/16/14, 2014 Oil on alu-dibond 9 x 10"</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCv8USvgPSjixD41di4UpLz5wfH6PV_vYgPw5DhwFTf3SsjbmdVlRARZo3ttf0pbI_NuYC56QXTkOeczqxhDDJHv6h1Bx4X2Ra9SC-BSGyA2dkVsDHcH2O-HsthstJCMHIxHB-ICXHfKTP/s1600/BURNS+341+side+view.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCv8USvgPSjixD41di4UpLz5wfH6PV_vYgPw5DhwFTf3SsjbmdVlRARZo3ttf0pbI_NuYC56QXTkOeczqxhDDJHv6h1Bx4X2Ra9SC-BSGyA2dkVsDHcH2O-HsthstJCMHIxHB-ICXHfKTP/s1600/BURNS+341+side+view.jpg" height="320" width="157" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">KELLYANN BURNS 11:03 AM 9/01/14, 2014 Oil on alu-dibond 10 x 10"</span></span></td></tr>
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<span style="color: #cc0000;"><a href="http://www.hionasgallery.com/home_page.html" target="_blank"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: large;">SIRI BERG: Color and Space </span>[Hionas Gallery through February 7]</span></span></a></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Color and Space focuses on two series of Berg's paintings and works on paper from the 1970s and 1980s. Berg, who is now in her nineties, has long worked with themes and variations, selecting geometric forms and systematically engaging in extended explorations. This is geometric abstraction with an emphasis on symmetry along with variations in color. In developing a series, Berg produces numerous small works on paper, repeating and manipulating the formal compositions as she modifies the palette. In contrast with the paintings of Burns, Berg's compositions and her application of paint are minimalist, and quickly reveal their essence to the viewer. </span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><i>La Ronde</i>, a series from the late 1960s through the 1970s, features semi-circles set into a square, sometimes singly but often in a sequence. The palette of the series ranges from muted to brightly colored. <i>Kabbalah</i> (1980s) is an exploration of the square with more subdued and subtle color variations. According to the gallery press release, Berg was working with elements of color, space and form to connect with the rule of ten (derived from the Kabbalah, a form of Jewish mysticism). <span style="font-size: x-small;">Images courtesy Hionas Gallery.</span> </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvVMjvIltnaoQQAM68-5OFZ1EsDpQpMBgnyVlplAvydC7-4wkq2rb6r9kiXXBqQ2vy5CFPgpkGFl7jKPCS6ainLgyG1mzEuBvZP3OBL4KzUjljXACsMjpC1HNeN-qcM4Q6vxV_b9PdGyVr/s1600/BERG+La+Ronde+oil+on+paper+smaller.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvVMjvIltnaoQQAM68-5OFZ1EsDpQpMBgnyVlplAvydC7-4wkq2rb6r9kiXXBqQ2vy5CFPgpkGFl7jKPCS6ainLgyG1mzEuBvZP3OBL4KzUjljXACsMjpC1HNeN-qcM4Q6vxV_b9PdGyVr/s1600/BERG+La+Ronde+oil+on+paper+smaller.jpg" height="400" width="398" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SIRI BERG La Ronde, 1971 Oil on paper 20 x 20"</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgby0K09vunU0pYMZshHcDvgpiILt6JTEpwHyibVwxge-LxkkopF2WWU2crTNWARsdL8X04jWvXqc15-kOxn6Er8j627DlY0-ntLxlc-uV3Dn-eCNgZ1l_j84gKwzpXxSgWPv9hC560eTky/s1600/BERG+004+La+Ronde+painting+smaller+file.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgby0K09vunU0pYMZshHcDvgpiILt6JTEpwHyibVwxge-LxkkopF2WWU2crTNWARsdL8X04jWvXqc15-kOxn6Er8j627DlY0-ntLxlc-uV3Dn-eCNgZ1l_j84gKwzpXxSgWPv9hC560eTky/s1600/BERG+004+La+Ronde+painting+smaller+file.jpg" height="392" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SIRI BERG La Ronde, 1972 Acrylic on Masonite 34 x 34"</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRv_hvQ46U1PXGlIMzFIGxEnR5_7ChqS49xKxU5KeYNE_blTB3Ot0-ZpV1SXNwd19q-DpckznNFxlhqcpCrMSSDIaOeuJBRGeKG_jGasQ7gzflQB49CXEnkDSoFDEdtuQocUyh1KioQpD5/s1600/BERG+007+La+Ronde+painting+smaller+file.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRv_hvQ46U1PXGlIMzFIGxEnR5_7ChqS49xKxU5KeYNE_blTB3Ot0-ZpV1SXNwd19q-DpckznNFxlhqcpCrMSSDIaOeuJBRGeKG_jGasQ7gzflQB49CXEnkDSoFDEdtuQocUyh1KioQpD5/s1600/BERG+007+La+Ronde+painting+smaller+file.jpg" height="392" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SIRI BERG La Ronde, 1972 Acrylic on masonite</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8sNqVMtz9It3tWGNqWM4BFVC37mxDlKnxPzS_VvwvdiRLbOrVqhov06NrkJwxQWYGJfPTuGd0E5eudkMIchyphenhyphenU9-xrnzTOGlCMZDo505ZZQwUy5FfaXg9tq_wshfdJZIQcKTiVnKAqB3Kb/s1600/BERG+Kaballah+study+001smaller+file.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8sNqVMtz9It3tWGNqWM4BFVC37mxDlKnxPzS_VvwvdiRLbOrVqhov06NrkJwxQWYGJfPTuGd0E5eudkMIchyphenhyphenU9-xrnzTOGlCMZDo505ZZQwUy5FfaXg9tq_wshfdJZIQcKTiVnKAqB3Kb/s1600/BERG+Kaballah+study+001smaller+file.jpg" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SIRI BERG Study for Kaballah, 11 x 8.5 inches, oil on paper</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0LJOe6Js4M9vjfhcyr38WXqyeFndzW-8XpQCl-HDue6OLGCwU8jEmI-jShjneGbXELtB45ZNUnl6I_wb-zxEwwDXzZSUbDgbuiofrq6u5ublzRkkpiC8wN3BARx5JaTW8mhyDMZDYvHzQ/s1600/BERG+Kabbalah+study.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0LJOe6Js4M9vjfhcyr38WXqyeFndzW-8XpQCl-HDue6OLGCwU8jEmI-jShjneGbXELtB45ZNUnl6I_wb-zxEwwDXzZSUbDgbuiofrq6u5ublzRkkpiC8wN3BARx5JaTW8mhyDMZDYvHzQ/s1600/BERG+Kabbalah+study.jpg" height="320" width="276" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SIRI BERG Study for Kaballah, 11 x 8.5 inches, oil on paper</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzUF0oibSF5E3tO3Vogiv1dRB3zmslxuqoUv5ELNwRu2WTsaS-4Ka73ruuPSm7kH53DnCImGX4wJfn56867EEDQhyphenhyphenadJC1hYgkQ2PWw__wLPaWLyT483MfwCegrS_XbwnfCwH54OUMSf-l/s1600/BERG+Kabbalah+painting+smaller+file.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzUF0oibSF5E3tO3Vogiv1dRB3zmslxuqoUv5ELNwRu2WTsaS-4Ka73ruuPSm7kH53DnCImGX4wJfn56867EEDQhyphenhyphenadJC1hYgkQ2PWw__wLPaWLyT483MfwCegrS_XbwnfCwH54OUMSf-l/s1600/BERG+Kabbalah+painting+smaller+file.jpg" height="361" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SIRI BERG Kaballah, 1982 oil on canvas 30 x 60"</span></span></td></tr>
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<i><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">For additional information on geometric abstraction:</span></span></i><br />
<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><a href="http://geoform.net/" target="_blank"><span style="color: #cc0000;">Geoform</span></a> is a website featuring paintings by several hundred contemporary artists as well as in depth interviews. </span></span><br />
<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">The <a href="http://www.metmuseum.org/toah/hd/geab/hd_geab.htm" target="_blank"><span style="color: #cc0000;">Heilbrunn Timeline of Art History</span></a> offers a brief overview of the genesis of geometric abstraction. </span></span><br />
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<i><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Current and recent exhibits including geometric abstraction:</span></span></i><br />
<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><a href="https://www.facebook.com/dmcontemporary/timeline" target="_blank"><span style="color: #cc0000;">A Few Conversations about Color @ DM Contemporary</span></a> <a href="http://www.blurb.com/books/5920604-a-few-conversations-about-color" target="_blank"><span style="font-size: x-small;">CLICK HERE for catalog</span></a> <span style="font-size: x-small;">(up through February 28)</span></span></span><br />
<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><a href="http://www.minusspace.com/2014/09/ward-jackson/" target="_blank"><span style="color: #cc0000;">Ward Jackson: Black & White Diamonds @ Minus Space</span></a> <span style="font-size: x-small;">(September 2014)</span> </span></span><br />
<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><span style="font-size: x-small;"><span style="font-size: small;"><a href="http://www.artcenternj.org/exhibitions/current-exhibitions/doppler-shift/" target="_blank"><span style="color: #cc0000;">Doppler Shift @ the Visual Arts Center of New Jersey </span></a> </span>(September 2014 - January 2015)</span></span></span>
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<br />Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com0tag:blogger.com,1999:blog-5008393394459043474.post-63740515777802376492014-11-24T11:11:00.000-05:002015-01-19T07:33:43.656-05:00Martin Puryear at Mathew Marks<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="color: blue;"><b>Stand amidst the sculptures of Martin Puryear and you are aware that he is one of the few living artists whose work consistently communicates wit and visual eloquence.</b></span> On exhibit at <span style="color: blue;"><a href="http://www.matthewmarks.com/new-york/exhibitions/2014-11-08_martin-puryear/works-in-exhibition/" target="_blank">Matthew Marks </a></span>(through January 10, 2015) are ten recent sculptures executed in a variety of woods and metals. Although these pieces do not have the monumental impact of works in his <span style="color: blue;"><a href="http://www.moma.org/interactives/exhibitions/2007/martinpuryear/flash.html" target="_blank">2007 exhibit at MOMA</a>,</span> they are enormously satisfying. Puryear's devotion to craftsmanship is evident in the meticulous and elegant realization of each piece. His manipulation of materials serves to expand our expectations of their properties, while his manipulations of a single form suggest new ways of seeing it. In this exhibit, Puryear takes the form of the Phrygian cap (more on this below) and offers it up whole and in parts--sensuous, obstinate, uncertain, decorative. </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="color: blue;"><b>Begin with <i>Up and Over, </i>a modestly sized piece in cast ductile iron</b></span><i><span style="color: blue;"><b>.</b></span> </i>The form is organic, almost anthropomorphic, as it curves over and presses tightly against itself. There is a tenderness to this piece that completely subverts the hardness of the iron. I find it captivating from every vantage point. </span><br />
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<tr><td class="tr-caption" style="text-align: center;">UP AND OVER 2014 cast ductile iron 18 5/8 x 26 1/2 x 12 3/4 inches</td></tr>
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</span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="color: blue;"><b>Contrast that with <i>Big Phrygian</i> in the next room</b>. </span>It is a hulking piece of painted red cedar that sits heavily and unyielding. Constructed from multiple layers of wood veneer, it is stubborn in its redness and has a cartoonish quality to the shape. Nothing about it entices me to linger. Yet when I draw close, I see the irregularities in its surface, perhaps a hint of vulnerability. This piece also represents the most overt representation of the Phrygian cap (see more on this below).</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><i>BIG PHRYGIAN</i> 2010-2014 Painted red cedar 58 x 40 x 76 inches</span></span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;">Another of the variations on the form is evident in the open network of <i>Untitled</i>, one of the larger pieces on exhibit. In this piece, although the saplings have been bent and tied together, Puryear has left the wood in its most natural state. </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="color: blue;"><b>Puryear is known for his exquisite craftsmanship with wood and in this exhibit he puts his skills on display. </b><span style="color: black;">He makes use of a variety of woods</span></span> (among them tulip poplar, pine, ash, holly, ebony, yellow cedar, and red cedar). Puryear works the wood to various effects -- in several pieces, paper thin layers of wood are joined into curving forms, while elsewhere, thicker pieces of wood are joined to build torqued arches and bulbous volumes. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><i>CASCADE</i>, 2013 Alaskan yellow cedar, 66 x 54 3/4 x 17 inches</span></span></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><i>CASCADE</i> detail</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><i>QUESTION</i> 2010, Tulip poplar, pine, ash 90 x 109 1/4 x 34 1/2 inches</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><i>PHRYGIAN PLOT </i> 2012 Inlaid holly and black dyed veneer 60 x 74 x 4 inches</span></span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="color: blue;"><b>Puryear paints some of his pieces,</b></span> some to a delicate and organic effect as seen in <i>Shell Game</i>, in others (as in <i>Big Phrygian</i>) with a heavy intensity, and in still others (such as <i>Faux Phrygian</i>), his brilliant colors serve to emphasize the geometry of the forms. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><i>SHELL GAME</i> 2014 Tulip poplar, milk paint 56 1/4 x 72 x 9 1/2 inches</span></span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4-vBfc7ysgon0dHAPGsjmJ1JABvcrVwpI8St0-t6AW69211G5lZ4CdaLtKBOAESbWcQ1MeIqbPJ3U12jsF_TEc_ZXW_fMYPCIDfVeJdyLnzq8dDO0TZzGZwBPr95b0VPj6wb1TEFBBJYW/s1600/SHELL+GAME+detail+39116_PRELIMINARY_083.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4-vBfc7ysgon0dHAPGsjmJ1JABvcrVwpI8St0-t6AW69211G5lZ4CdaLtKBOAESbWcQ1MeIqbPJ3U12jsF_TEc_ZXW_fMYPCIDfVeJdyLnzq8dDO0TZzGZwBPr95b0VPj6wb1TEFBBJYW/s1600/SHELL+GAME+detail+39116_PRELIMINARY_083.jpg" height="320" width="213" /></a></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="color: blue;"><b>Puryear's wit can be seen in how he titles each piece.</b></span> The word cascade generally evokes a powerful downpour, while Puryear's <i>Cascade</i> is delicate and turns back up on itself, defying the downward pull. Rather than concealing something, as usually occurs in a shell game, his <i>Shell Game </i>is cut open to reveal its hollowed out and delicately painted innards. Puryear pulls out all the stops with <i>Faux Vitrine</i>, a display case that tilts in such a way that anything placed on its shelves would slide right off. Approach it from the another side and this colorfully painted piece morphs into something else entirely--devoid of color and optically confusing with shelves of polished stainless steel. Many people in the gallery did a double-take, perhaps thinking they were looking at two different sculptures.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><i>FAUX VITRINE</i> 2014 Mirror polished stainless steel, curly maple, black walnut, marine plywood, Japan color
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3/4 x 46 1/2 x 40 3/4 inches</span></span><style>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVQDGByvcHVhs-uCe5dm4dNN8AJcH3oaGQzNPvFKDHXmW9gXbzgu6sEwpN48l_yPY1TflqB4P6qcy7mWqQhSFHhyphenhyphenUPUs1rBifW5yunYgVhwNwWOkVOWyJqYgj3dbLhNnUSXiDR8MEKEZY8/s1600/FAUX+VITRINE++sideview.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVQDGByvcHVhs-uCe5dm4dNN8AJcH3oaGQzNPvFKDHXmW9gXbzgu6sEwpN48l_yPY1TflqB4P6qcy7mWqQhSFHhyphenhyphenUPUs1rBifW5yunYgVhwNwWOkVOWyJqYgj3dbLhNnUSXiDR8MEKEZY8/s1600/FAUX+VITRINE++sideview.jpg" height="400" width="208" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbXA7Qy2lfLj_2qLVqPme4iq6FwI_LnbIbB3E0Lsqv6-S4Wv0fM0dbMNtTiN9xJPRgAJcoABAK_HO_ZdGO7WYiHt-yx3c4rZkG90nduySfo2ATWvUDlGMlMHBPn9-gXeKnGbwMcncSC5T9/s1600/FAUX+VITRINE+first+view+39117_PRELIMINARY_073.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbXA7Qy2lfLj_2qLVqPme4iq6FwI_LnbIbB3E0Lsqv6-S4Wv0fM0dbMNtTiN9xJPRgAJcoABAK_HO_ZdGO7WYiHt-yx3c4rZkG90nduySfo2ATWvUDlGMlMHBPn9-gXeKnGbwMcncSC5T9/s1600/FAUX+VITRINE+first+view+39117_PRELIMINARY_073.jpg" height="400" width="268" /></a><span style="font-family: "Trebuchet MS", sans-serif;"><b> </b></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="color: blue;"><b>Another element of Puryear's work is its political/historic content.</b></span> Historic references were noticeably present in several of the pieces in the retrospective at MOMA. (For more about that as well as other insights into Puryear's work, read sections of <a href="http://hyperallergic.com/tag/martin-puryear/" target="_blank">John Yau's recent article</a> in Hyperallergic). </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">In this exhibit, the <span style="color: blue;"><b>Phrygian cap</b></span> (also called a 'liberty cap') is a recurrent reference point. This soft, conical cap, often depicted in red, first appeared in antiquity and can be seen in Greek sculpture and vase paintings. It was also associated with a felt cap worn by emancipated slaves of ancient Rome. Later worn by the sans-culottes during the French Revolution, it signifies freedom and liberty. (For the trivia nerds among you, the Phrygian cap also appears in the coat of arms of Haiti, the Seal of the US Senate, the War Office seal of the US Army, on several state flags and in the coat of arms of Argentina. Small images appear at the end of this post.) </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">In the press release for this exhibit, Puryear states "Although I was certainly aware of numerous depictions of this cap in European and early American art when I began work on the Big Phrygian sculpture, I only discovered the engraved image of the black man wearing the read Phrygian cap.... years afterwards." The engraving, which dates from 1794 when slavery was first abolished in France, includes the caption "Moi libre aussi" (I am free too).</span><br />
<span style="font-family: "Trebuchet MS", sans-serif;"><br /></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-family: "Trebuchet MS", sans-serif;">The cap appears in its most visually explicit form in the large, red <i>Big Phrygian</i>. </span>With <i>Shackle</i>, Puryear combines a reference to the shape of the cap with a ring evoking the chains which shackled the slaves. Executed in iron, the sculpture is small but emphatic, with a subtly textured surface. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifa_P7WW2rFqLvCCun3pcHpkbwI6WI6TwfTn36TwmPAnr7VZxqwy70nCo5qZSvyQGa6i9EQ7vyENULylYyBo-oiOjPi_IZORCzOF9Vf0cKMakLmsoD06agY1JSXXQnVCdUSHOkQvXv90JU/s1600/SHACKLED+_39107_070.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifa_P7WW2rFqLvCCun3pcHpkbwI6WI6TwfTn36TwmPAnr7VZxqwy70nCo5qZSvyQGa6i9EQ7vyENULylYyBo-oiOjPi_IZORCzOF9Vf0cKMakLmsoD06agY1JSXXQnVCdUSHOkQvXv90JU/s1600/SHACKLED+_39107_070.jpg" height="400" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><i>SHACKLED</i> 2014 Iron 27 1/2 x 30 5/8 x 8 3/8 inches</span></span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3GHOsed9fzmcfHIuZwLIx8sEe5q-MYI3c3EUlmKx9dbstJYSmPSKRsP92nd72vMvkPZX4Q72FQWoUkr_dexuti-ImKHdEoS8UidKZsI9AjMtyLomzD6ubgvCbJXjh9uOlOyYDjVqrguev/s1600/SHACKLED+detail+39107_083.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3GHOsed9fzmcfHIuZwLIx8sEe5q-MYI3c3EUlmKx9dbstJYSmPSKRsP92nd72vMvkPZX4Q72FQWoUkr_dexuti-ImKHdEoS8UidKZsI9AjMtyLomzD6ubgvCbJXjh9uOlOyYDjVqrguev/s1600/SHACKLED+detail+39107_083.jpg" height="320" width="240" /></a></div>
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<span style="font-family: "Trebuchet MS", sans-serif;">While clearly referencing both the historic symbolism of the Phrygian cap as well as its shape, perhaps Puryear is also making a personal statement about his freedom as an artist. But whether or not you choose to consider his intentions, go see this exhibit for the joy of his artistry. </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><i>A selection of Phrygian caps in art and politics ....... </i></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"> </span>Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com1tag:blogger.com,1999:blog-5008393394459043474.post-48109862891514145562014-10-18T21:46:00.001-04:002014-10-19T08:23:52.284-04:00Altoon Sultan | McKenzie Fine Art<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: 12pt;">After following Sultan’s work for several
years via her blog and FB, I was delighted to see the exhibition at <a href="http://www.mckenziefineart.com/exhib/sultan2014exhb.html" target="_blank"><span style="color: blue;">McKenzie Fine Art</span></a> in New York (up through November 16).<span style="mso-spacerun: yes;"> </span></span>
<span style="font-size: 12pt;">I first wrote about Sultan’s work two years ago
<a href="http://tamarzinn.blogspot.com/2012/11/altoon-sultan-playful-geometry.html" target="_blank"><span style="color: blue;">here</span></a></span>, highlighting her prints (potato
and cardboard) and textiles (hooked wool drawings and textiles), which demonstrated
her facility working with simple forms and at times pedestrian materials to produce
bold and playful images.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-spacerun: yes;"><span style="font-family: "Trebuchet MS",sans-serif;">Sultan is an artist whose work
cannot be neatly categorized, whether one considers her imagery or the medium.<span style="mso-spacerun: yes;"> </span>Rather than confining herself to one primary
direction, she pursues several parallel bodies of work.<span style="mso-spacerun: yes;"> </span>What they all share is her
pursuit of elegant geometry, subtle use of color, as well as her expertise and delight in the process of making.<span style="mso-spacerun: yes;"> </span></span> </span></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq0gFzZnCXYvhdiIfqMyV0SLvVPyCRn6xt6qRBOAvyUcTQ3ixnJOvx06a2HZyu6TvaFJshmm191eFzDqIYjH3IiX_5oTGfMiybJEJ7XEAqLVuopNOH9gsqq1vr5qG04pbI8br-1nt1jLDG/s1600/CurvesandSquare_AS10003F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq0gFzZnCXYvhdiIfqMyV0SLvVPyCRn6xt6qRBOAvyUcTQ3ixnJOvx06a2HZyu6TvaFJshmm191eFzDqIYjH3IiX_5oTGfMiybJEJ7XEAqLVuopNOH9gsqq1vr5qG04pbI8br-1nt1jLDG/s1600/CurvesandSquare_AS10003F.jpg" height="279" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SULTAN, <i>Curves and Square,</i> 2013 Egg tempera on parchment stretched over wood panel 6 1/2 x 7 1/2 inches</span></span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;">This show, which includes nearly
thirty pieces, offers quite an array of work by this versatile artist –
intimate paintings executed in egg tempera, drawings on hand-toned paper, and
hooked wool wall textiles. <span style="mso-spacerun: yes;"> </span>Although
linked by her attention to balancing form and color, each medium offers Sultan a
different expressive vocabulary. </span><span style="font-family: "Trebuchet MS",sans-serif;">It is also clear that for Sultan,
preparing the materials<span style="mso-spacerun: yes;"> is an engaging and meaningful part of her practice. The</span> egg tempera
paintings are executed on calfskin parchment stretched over wood panels; she hand dyes
the wool for the textiles, and hand-tones the paper for her drawings.</span>
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<span style="font-family: "Trebuchet MS",sans-serif;">The <span style="color: #990000;"><b>hooked wool textiles</b></span> are the most reductive and visually striking
of all Sultan’s works.<span style="mso-spacerun: yes;"> </span>While the geometric
forms are bold, the hooking process yields a rich surface texture comprised of
numerous small strokes, gently undermining the minimalist sensibility of the compositions.<span style="mso-spacerun: yes;"> </span>Additionally,
the size of each ‘stitch’ is such that the forms are often imperfect, with
irregular edges.<span style="mso-spacerun: yes;"> Although</span> Sultan sometimes dips into illusionist space in this body of work, most of the textiles are strong figure/ground compositions. So while
many of her textiles give a hat tip to Russian constructivism, those formal inclinations are balanced with a bit of whimsy. (<span style="mso-spacerun: yes;">It is unfortunate that</span> only five of Sultan's textiles are included in the exhibit, not giving them the presence they deserve).</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTnByqHsiXEOvpIYU_sKjkzg7V0OC0VM6gsRB33E60G5o2kk1Jqe2kbR_rQZdXjYBdsqp-AZoMbI2f8l5uhHzJbB6E6GYHsBjN7xVjkgVJ_5GjdFsKVBJc33lFcn2EwHg9eUdE8mHiKCqX/s1600/Red+Bars_AS10043F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTnByqHsiXEOvpIYU_sKjkzg7V0OC0VM6gsRB33E60G5o2kk1Jqe2kbR_rQZdXjYBdsqp-AZoMbI2f8l5uhHzJbB6E6GYHsBjN7xVjkgVJ_5GjdFsKVBJc33lFcn2EwHg9eUdE8mHiKCqX/s1600/Red+Bars_AS10043F.jpg" height="320" width="268" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SULTAN, <i>Red Bars,</i> 2014 Hand-dyed wool on linen 12 x 10 inches</span></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHSsNOpJXhSEeJ8DzcouvaTAKt57Cj6TIezJoFNP2Hr1_FZqZR7VfxNTTmySjg3YT0bU6Z4NGBh_FWK9iUUs7D0cPxqt-VeClVbrjLqrOeVVqJ4aeNDM-vXOgQcn9ziqILy0TFy3m_rAi8/s1600/Sultan+Blue+Arc+PA170235.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHSsNOpJXhSEeJ8DzcouvaTAKt57Cj6TIezJoFNP2Hr1_FZqZR7VfxNTTmySjg3YT0bU6Z4NGBh_FWK9iUUs7D0cPxqt-VeClVbrjLqrOeVVqJ4aeNDM-vXOgQcn9ziqILy0TFy3m_rAi8/s1600/Sultan+Blue+Arc+PA170235.jpg" height="400" width="230" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SULTAN, <i>Blue Arc,</i> 2014 Hand-dyed wool on linen 25 3/4 x 12 inches</span></span></span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">The <span style="color: #990000;"><b>drawings </b></span>(egg
tempera and graphite) on hand-toned paper
seem to reflect another aspect of Sultan’s aesthetic—and I find viewing
them to be somewhat spiritual, not unlike the meditative effect of
Tantric drawings. In various interviews,
Sultan mentions that this body of work was prompted by time spent at the
Islamic wing at the Metropolitan Museum of Art. Sultan tones the papers in hues ranging from subdued to
saturated, and each sheet is rich with the irregularities of the dying process. Along with the overlay of painted forms, the
networks of intersecting circles (drawn in graphite) remain
quietly visible, hinting at the many possible directions
inherent in each piece. These drawings have an air of mystery and merit
slow looking. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3CfpGh_RLTwdyM4uCrCljA4Fb1tq69THUvG8ZlkwETCAgQ9bH7CpViDMCd39betPmLJU-GGeGgwao9hCC1ajlED2dhwxWiVfxF3mnJbi2XmzAoJgU8rfRYb0vUi5RiKIuxfmhvB2FwRg5/s1600/Sultan+drawings+PA170238.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3CfpGh_RLTwdyM4uCrCljA4Fb1tq69THUvG8ZlkwETCAgQ9bH7CpViDMCd39betPmLJU-GGeGgwao9hCC1ajlED2dhwxWiVfxF3mnJbi2XmzAoJgU8rfRYb0vUi5RiKIuxfmhvB2FwRg5/s1600/Sultan+drawings+PA170238.jpg" height="248" width="320" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicJrMuoWPRgEzo9zIbObYwra2i3Ds_WmjqTkI-tlajZdOHttFCNI3WPrgxNtnMtuCMznyQB-cCLM0CmQFR06eGwEirqzPSeQqJ03cliqMBdngE3cwF5TxcHWSxCYckcFEf5KOz3ZcjbqeI/s1600/5_AS10018F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicJrMuoWPRgEzo9zIbObYwra2i3Ds_WmjqTkI-tlajZdOHttFCNI3WPrgxNtnMtuCMznyQB-cCLM0CmQFR06eGwEirqzPSeQqJ03cliqMBdngE3cwF5TxcHWSxCYckcFEf5KOz3ZcjbqeI/s1600/5_AS10018F.jpg" height="320" width="317" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SULTAN, <i>#5,</i> 2012 Egg tempera and graphite on hand-toned paper 15 x 15 inches</span></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLiKvFcZlSeuxH9v9uvUZ7OXlFiEpN9UO320Izh4gsiVP84G_C3V07Vhn9x0pE1p14EhP2LNYwtSr_ilzE7XeJkEvZghEba1uDzo6P_yv7dMo1FdvRl4MLBy8mWJzzGOLZP7LEkSEbLG5S/s1600/31_AS10032F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLiKvFcZlSeuxH9v9uvUZ7OXlFiEpN9UO320Izh4gsiVP84G_C3V07Vhn9x0pE1p14EhP2LNYwtSr_ilzE7XeJkEvZghEba1uDzo6P_yv7dMo1FdvRl4MLBy8mWJzzGOLZP7LEkSEbLG5S/s1600/31_AS10032F.jpg" height="320" width="316" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SULTAN, <i>#31,</i> 2014 Egg tempera and graphite on hand-toned paper 15 x 15 inches</span></span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7eFYwpalkphwu8zd78NvWJy6nX89De7YnaYwdfNaXGhZlRgB8OZy0w5zYKybXO_oPGaBxE_bQyjhfQUQCpx9IEp84SFib6Af3IvrXPtIDc9a1bo3L0HJDke9LG5IT0rrL1DjuyK3rkbul/s1600/9_AS10022F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7eFYwpalkphwu8zd78NvWJy6nX89De7YnaYwdfNaXGhZlRgB8OZy0w5zYKybXO_oPGaBxE_bQyjhfQUQCpx9IEp84SFib6Af3IvrXPtIDc9a1bo3L0HJDke9LG5IT0rrL1DjuyK3rkbul/s1600/9_AS10022F.jpg" height="311" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SULTAN, <i>#9,</i> 2014 Egg tempera and graphite on hand-toned paper 15 x 15 inches</span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;">Sultan’s very intimate <span style="color: #990000;"><b>paintings</b></span> (several as small as 6 x 8") are derived from her photographs
of farm machinery, and focus on the geometry of the
forms.<span style="mso-spacerun: yes;"> </span>By zooming in and closely
cropping her images, she
essentially rules out a consideration of subject matter. Rather, Sultan
concentrates on capturing light and shadows, and juxtaposing small
elements of these machine-made implements against one another, all in
service to the composition.<span style="mso-spacerun: yes;"> Yes, there
is light and shadow -- pointing to depth and illusion, yet these are not
depictions of objects. The irregular silhouettes of the shadows add a bit of surprise and spatial ambiguity to the compositions. Elements of the man-made world have been
distilled and transformed into elegant, carefully balanced abstractions.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpKBcotPr4nV6hwjX9IsZTczaQ5RJjKwspt3pJBruykysryMoWwUg03OIOvCFfayPmhBVI2bIhnC1XO-94dNFnO4E8fblPQ644atLTL7f4ziWLAog8sMQt6TyX4TCD6wLq2dxWZ8tptFBR/s1600/BlueVerticals_AS10013F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpKBcotPr4nV6hwjX9IsZTczaQ5RJjKwspt3pJBruykysryMoWwUg03OIOvCFfayPmhBVI2bIhnC1XO-94dNFnO4E8fblPQ644atLTL7f4ziWLAog8sMQt6TyX4TCD6wLq2dxWZ8tptFBR/s1600/BlueVerticals_AS10013F.jpg" height="320" width="236" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SULTAN, <i>Blue Verticals,</i> 2014 Egg tempera on parchment stretched over wood panel 8 1/4 x 6 1/8 inches</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK2qh0r7IP2RdEcrcdKT0-9e9J89gOAh0Jrvhr90TJ3rrE-Ewo3prTIizttcYTu5oh-dUMD-IwawDUXa7Z1APWtdiyoXWkbv1X2DacCvl6Sgs6fiJJ6RZjw21uBuuiINjfL37E3ie4yZ9R/s1600/LightFingers_AS10009F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK2qh0r7IP2RdEcrcdKT0-9e9J89gOAh0Jrvhr90TJ3rrE-Ewo3prTIizttcYTu5oh-dUMD-IwawDUXa7Z1APWtdiyoXWkbv1X2DacCvl6Sgs6fiJJ6RZjw21uBuuiINjfL37E3ie4yZ9R/s1600/LightFingers_AS10009F.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SULTAN, <i>Light Fingers,</i> 2014 Egg tempera on parchment stretched over wood panel 6 x 8 inches</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXNcmV4UXDBfv6nND_2lUs_EL5KXoErdwbOqdT7s1xQihwCJU_a3FxVgnwuUYxni6U666QAJpdKA8fxK9XB2ZeaAfnHf9moiDe8EYU6YxIU3_Db6zv7OF2louy9yfb_jV980yLKaX7AwAX/s1600/Red+Hose_AS10008F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXNcmV4UXDBfv6nND_2lUs_EL5KXoErdwbOqdT7s1xQihwCJU_a3FxVgnwuUYxni6U666QAJpdKA8fxK9XB2ZeaAfnHf9moiDe8EYU6YxIU3_Db6zv7OF2louy9yfb_jV980yLKaX7AwAX/s1600/Red+Hose_AS10008F.jpg" height="242" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SULTAN, <i>Red Hose,</i> 2014 Egg tempera on parchment stretched over wood panel 6 1/4 x 8 1/4 inches</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhajJFtJa7jTGh6mxsq1txuE8kGPTe4Btwh9ehyR0zKjEgLXGlWjWb57PcK-JyOaz-1by_hglVISlI47Nt6eZ0jEjtXb2SQRF_W3uA1_J048EObfSXznUO3hcc9Ye3JmTeMuXkAf9m6LsGe/s1600/Linked_AS10007F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhajJFtJa7jTGh6mxsq1txuE8kGPTe4Btwh9ehyR0zKjEgLXGlWjWb57PcK-JyOaz-1by_hglVISlI47Nt6eZ0jEjtXb2SQRF_W3uA1_J048EObfSXznUO3hcc9Ye3JmTeMuXkAf9m6LsGe/s1600/Linked_AS10007F.jpg" height="177" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">SULTAN, <i>Linked, </i>2014 Egg tempera on parchment stretched over wood panel 5 1/4 x 9 1/2 inches</span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-spacerun: yes;">Click <a href="http://figureground.org/a-conversation-with-altoon-sultan/" target="_blank">here</a> to read a 2013 interview with Sultan, conducted by Jeff Hogue on Figure/Ground. </span></span></div>
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Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com4tag:blogger.com,1999:blog-5008393394459043474.post-90298717229018501282014-09-28T19:52:00.001-04:002014-09-29T08:49:07.101-04:00On exhibit: Deborah Zlotsky, Ward Jackson, and Yoshiaki Mochizuki<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;"><i><span style="font-family: "Trebuchet MS", sans-serif;">In this post:</span></i></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><span style="color: blue;"><b>DEBORAH ZLOTSKY</b></span> at Kathryn Markel Fine Arts, through October 11</span></span><br />
<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><span style="color: blue;"><b>WARD JACKSON</b></span> at Minus Space, through October 25</span></span><br />
<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><span style="color: blue;"><b>YOSHIAKI MOCHIZUKI</b></span> at Marlborough Chelsea, through October 11 </span></span><i><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"> </span></span></i><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">Autumn in NY is off to a bountiful start with numerous exhibits featuring the many guises of abstraction. At its most superficial level, the thread that ties these three exhibits together is quite simple: I am enthralled by the work. But digging deeper, each artist reflects a clarity of vision along with a devotion to craft, and each artist's work reflects a distinctive approach to abstraction that incorporates elements of geometric forms.</span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><span style="color: blue;"><b>Deborah Zlotsky</b>: <i>It happened, but not to you</i> (Kathryn Markel Fine Arts,through October 11)</span> features eight knock-out paintings chock full of muscular volumetric forms that are stacked and torqued through space. Zlotsky's constructions appear at once massive and floating, which sometimes twist open to reveal hollowed out interiors. These trapezoidal masses are anchored to one another, yet seem ready to separate and hurtle off with a gentle shove. </span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">A dynamic unfolding permeates Zlotsky's paintings, unlike much hard-edged geometric abstraction.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNwxQCoZU7byOehuvLSOPpDRPHjyP7uMuq4R27jmXCaG8brY20jqTj9GChfj5FhoEYpwpU4fazv8cGUYhUhp0Cfpxi9dU9vsaXacR-n86FeVPCnZSy9bsbWUgqOM8fJSpGbsvofpLoGfXQ/s1600/A+tricky+subject_48x48.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNwxQCoZU7byOehuvLSOPpDRPHjyP7uMuq4R27jmXCaG8brY20jqTj9GChfj5FhoEYpwpU4fazv8cGUYhUhp0Cfpxi9dU9vsaXacR-n86FeVPCnZSy9bsbWUgqOM8fJSpGbsvofpLoGfXQ/s1600/A+tricky+subject_48x48.jpg" height="400" width="398" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">DEBORAH ZLOTSKY <i>A tricky subject</i>, 2014 48x48 oil on canvas <span style="font-size: xx-small;"><i>(image courtesy KMFA)</i></span></span></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWNkbuIPQp9qeMqcKKiYtkJ088mRcQXo-WYzoyiJQyUBMisr6oaCPmvETQDZx0Jo9W7rd6kzYE3OoEHoK1J7mmP-qcz3TEXQe2849obqVpfZrcP8EmbZhXh18OPn5hP04cHe4AdCiGLEf7/s1600/A+tricky_tube+detail_217.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWNkbuIPQp9qeMqcKKiYtkJ088mRcQXo-WYzoyiJQyUBMisr6oaCPmvETQDZx0Jo9W7rd6kzYE3OoEHoK1J7mmP-qcz3TEXQe2849obqVpfZrcP8EmbZhXh18OPn5hP04cHe4AdCiGLEf7/s1600/A+tricky_tube+detail_217.jpg" height="291" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">detail from <i>A tricky subject</i></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhavPdm8GG-gikWjG5MqkCoVOOPKjMNQh-WxC43ozmNiHDMFCSUYf_xXTDkQOx21F-6X1d2E4KZ02R8KiY1_HWmw9weQBAJaKcU-_iJK7njuUGLb3jeYjBnD-RC2O0mP5Wz9eMVpEiuin0/s1600/Mermaid+Thoughts+60x72.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhavPdm8GG-gikWjG5MqkCoVOOPKjMNQh-WxC43ozmNiHDMFCSUYf_xXTDkQOx21F-6X1d2E4KZ02R8KiY1_HWmw9weQBAJaKcU-_iJK7njuUGLb3jeYjBnD-RC2O0mP5Wz9eMVpEiuin0/s1600/Mermaid+Thoughts+60x72.jpg" height="333" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">DEBORAH ZLOTSKY <i>Mermaid thoughts</i>, 2014 60x72 oil on canvas <span style="font-size: xx-small;"><i>(image courtesy KMFA)</i></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLaaPka4HDB3VZPOHAY7qsr90_PyNsPxsKvNE6D5kpTTZDwJttHoixiGYKxJCVd7Wn7LepPypgYpQTq8i6rRKqFs6x1cxWindKeexpRmw5acLxtkXfaWVqtUY-9tr8rVNH_3_Nbk-uKSHZ/s1600/MermaidThoughts+detail.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLaaPka4HDB3VZPOHAY7qsr90_PyNsPxsKvNE6D5kpTTZDwJttHoixiGYKxJCVd7Wn7LepPypgYpQTq8i6rRKqFs6x1cxWindKeexpRmw5acLxtkXfaWVqtUY-9tr8rVNH_3_Nbk-uKSHZ/s1600/MermaidThoughts+detail.jpg" height="255" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">detail from <i>Mermaid thoughts</i></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuwHe6E5Pq7K_o-73E0OgIqjpWxyyjGVIaHXzG2il0jFSyIhCkbZoTwE2fo4OGaKY34gggMhiLkT3ZEy-494fbE6CCPqHFPprKBLH5HVM0m8oO90Sw2HgHKMomAFcBxXt137y1KFEQ70a_/s1600/zlot061_web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuwHe6E5Pq7K_o-73E0OgIqjpWxyyjGVIaHXzG2il0jFSyIhCkbZoTwE2fo4OGaKY34gggMhiLkT3ZEy-494fbE6CCPqHFPprKBLH5HVM0m8oO90Sw2HgHKMomAFcBxXt137y1KFEQ70a_/s1600/zlot061_web.jpg" height="397" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">DEBORAH ZLOTSKY The Inundation, 2014 48x48 inches oil on canvas <span style="font-size: xx-small;"><i>(image courtesy KMFA)</i></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpjnMPhhtEkmRK-dBEB9yvKWGjWfLrkaOyDQf6EdTdcUy6qZo0s0hUI581Nx078G2OrwLPPQG42rq-j9Af-shxpj9NiAT9QJfXEx4QjFXv0z9XIeQu815g6ixo1bbZeMdEFywh8cyDGdT3/s1600/Inundation+detail_218.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpjnMPhhtEkmRK-dBEB9yvKWGjWfLrkaOyDQf6EdTdcUy6qZo0s0hUI581Nx078G2OrwLPPQG42rq-j9Af-shxpj9NiAT9QJfXEx4QjFXv0z9XIeQu815g6ixo1bbZeMdEFywh8cyDGdT3/s1600/Inundation+detail_218.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">detail from <i>The Inundation</i></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Zlotsky's palette is replete with assertive colors and burly forms, combined with fantastical compositions and a painterly approach. A close examination of the paintings reveals planes painted with subtly modulated hues, as well as surfaces rich with drips and dings--elements that show the history of the making. Additionally, the robust forms are occasionally punctuated by tender pictorial elements (easy to miss from the distance)-- a delicate glass tube in one spot, or a needle-like mass in another </span></span></span></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">In her statement, Zlotsky states that things ordinary and familiar (from her surroundings or memory) are the starting point for each painting. Through a process that she describes as "accumulation and revision, accidents repeatedly redirect me, blurring my understanding of the differences between accident and intention, memory and history."</span></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">To see more work from this exhibit, click <a href="http://www.markelfinearts.com/exhibition/86/exhibition_works/list/" target="_blank">here</a>.</span></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><br /><span style="color: blue;"><b>Ward Jackson:</b> <i>Black & White Diamonds 1960s</i> (Minus Space, through October 25)</span> focuses on his black and white, geometric compositions on diamond-shaped canvases and also includes a series of sketchbook pages. </span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">In contrast with Zlotsky's colorful and compositionally complex paintings, Jackson's work elevates the power of austerity. </span></span></span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">The surface of these paintings is unarticulated, consistent with Jackson's overall minimalist approach.</span></span> </span></span> Elegantly installed in arrays that reflect pages from Jackson's sketchbooks, these paintings demonstrate his methodical exploration of minimalist compositions working variously with balance, symmetry, and pattern. </span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><span style="font-size: x-small;"><i>All photos in this section, courtesy of Minus Space. </i></span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdz_l1x3qwgeVOi2H0ViE6Ri79qYh3E9ZB9BCOu5F0ANddqm6coApCMBXbUmRPJFDZ8V9ehyphenhyphenyICp2Nz2JDHrBp0YflCqlj8gd2o9CJMUg-fJNoGEeBTcKo7wcG9T3REXvN0SfK749UXmg0/s1600/WardJackson_installation+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdz_l1x3qwgeVOi2H0ViE6Ri79qYh3E9ZB9BCOu5F0ANddqm6coApCMBXbUmRPJFDZ8V9ehyphenhyphenyICp2Nz2JDHrBp0YflCqlj8gd2o9CJMUg-fJNoGEeBTcKo7wcG9T3REXvN0SfK749UXmg0/s1600/WardJackson_installation+1.jpg" height="396" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Installation view, WARD JACKSON Black & White Diamonds 1960s <span style="font-size: xx-small;"><i>(photos courtesy of Minus Space)</i></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu2JaGaHjGWqqpdNb39-BgXQAdvjraOyqIbtvRhk-ZAh7R_BdlAyJOK5KRXOjAs4U-CP1orvoJSF_QMxo97l89c0zl5jIaBq_skVWVd2WtjN48HjqIuY_gX3ht75LcVrCpOjJhIDLRnIIF/s1600/10Ward-Jackson,-Interchange-V,-1963,-Acrylic-on-canvas,-34-x-34-inches,-%23WJ45.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu2JaGaHjGWqqpdNb39-BgXQAdvjraOyqIbtvRhk-ZAh7R_BdlAyJOK5KRXOjAs4U-CP1orvoJSF_QMxo97l89c0zl5jIaBq_skVWVd2WtjN48HjqIuY_gX3ht75LcVrCpOjJhIDLRnIIF/s1600/10Ward-Jackson,-Interchange-V,-1963,-Acrylic-on-canvas,-34-x-34-inches,-%23WJ45.jpg" height="314" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">WARD JACKSON <i>Interchange V</i>, 1963 34 x 34 inches acrylic on canvas</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifd4fs3sCiPrDPnrDJwG7C79Y1t3qyWrV8B4TNIh6J9kDhFTdyqarG8eWvdrY0BwOjrZtfPZEl2LtjmPrqzn4jdOabXcZnjXvjHIbkuK9eBpD76gJoNoUJc31H6CbcvgCuJ0AVal4AU14n/s1600/5Ward-Jackson,-Untitled-(Studies-for-Reverse)%2C-circa-1963-64%2C-Graphite-on-paper%2C-4-x-6-inches%2C-%23WJ39.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifd4fs3sCiPrDPnrDJwG7C79Y1t3qyWrV8B4TNIh6J9kDhFTdyqarG8eWvdrY0BwOjrZtfPZEl2LtjmPrqzn4jdOabXcZnjXvjHIbkuK9eBpD76gJoNoUJc31H6CbcvgCuJ0AVal4AU14n/s1600/5Ward-Jackson,-Untitled-(Studies-for-Reverse)%2C-circa-1963-64%2C-Graphite-on-paper%2C-4-x-6-inches%2C-%23WJ39.jpg" height="227" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">WARD JACKSON <i>Untitled (Studies for Reverse)</i>, circa 1963-64 4 x 6 inches graphite on paper</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg65pxDAPs8T7f3SeGo6ds4mcmMSCnWiSQX_JigoOMv-UPTYshNAj_KiDHfdJ-uhG0_-KjJbfGvE2j8VE3fZJlYjiDYZ9SmS_cVY-vgoppHHoBqDMpcypug_q1RPCyf9IHROFKCEXoVwvuu/s1600/3Ward-Jackson,-Untitled,-1966,-Acrylic-on-canvas,-17-x-17-inches,-%23WJ48.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg65pxDAPs8T7f3SeGo6ds4mcmMSCnWiSQX_JigoOMv-UPTYshNAj_KiDHfdJ-uhG0_-KjJbfGvE2j8VE3fZJlYjiDYZ9SmS_cVY-vgoppHHoBqDMpcypug_q1RPCyf9IHROFKCEXoVwvuu/s1600/3Ward-Jackson,-Untitled,-1966,-Acrylic-on-canvas,-17-x-17-inches,-%23WJ48.jpg" height="310" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">WARD JACKSON <i>Untitled</i>, 1966 17x17 inches acrylic on canvas</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4sb9zTO6V9f4GCeoxv5a3rYAU6YVLRSRzp4zY8hIl3ha8EvEE5xjZPvokOQtQ2KNapDqEQtBSWdTKe4rU2rokmyXOzraPAD-tDtrLZIXs5bDUflLbjD-uJ1NPmnbhGc8B_pDQ0fJLupWr/s1600/WardJackson+Installation+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4sb9zTO6V9f4GCeoxv5a3rYAU6YVLRSRzp4zY8hIl3ha8EvEE5xjZPvokOQtQ2KNapDqEQtBSWdTKe4rU2rokmyXOzraPAD-tDtrLZIXs5bDUflLbjD-uJ1NPmnbhGc8B_pDQ0fJLupWr/s1600/WardJackson+Installation+2.jpg" height="265" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Installation view WARD JACKSON Black & White Diamonds 1960s </span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Jackson described his work during the early 1960s </span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><i><span style="font-size: x-small;">(from the press release for the exhibit)</span></i></span></span>: "The diamond shape (or square on end) has the meditative power of a mandala and expands in a way that an ordinary square does not, since the measurement of the diameter across the center is wider than any of the outer or peripheral edges." </span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Additionally, by
rotating an inherently stable form and balancing the compositions on the tip, Jackson offers us
compositions that are both refined and dynamic.</span></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">The inclusion of sketchbook pages is an additional treat because we can see how Jackson conceptualized this series and then selected specific compositions to develop into paintings. </span></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">To see more work from this exhibit, click <a href="http://www.minusspace.com/2014/09/ward-jackson/" target="_blank">here</a>.</span></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><span style="color: blue;"><b>Yoshiaki Mochizuki:</b> <i>Grey Noise</i> (Marlborough Chelsea, through October 11) </span>is a gem of a show that invites quiet contemplation. Meticulously constructed with many layers of gesso, clay, graphite and palladium leaf, these intimate compositions (several as small as 10.5 x 10.5 inches) offer an indeterminate and ever-changing viewing experience. </span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Several</span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">
of these pieces appear as a field with hints of an underlying
grid, while others are developed with layers of lines that form overlapping planes and
simple geometries.</span></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Limited to black, white, gray and silver, the heavily burnished surfaces of these panels appear very matte from the distance. But moving in closer or when viewed from an angle, the surfaces shimmer and reflect innumerable specks of light. Step closer still and you see that the surface is rich with tightly packed incised lines. The areas that had appeared as a dull white actually have a highly polished silvery sheen flecked with bubbles and imperfections. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6_INyWyE9Q4kkahu5vYRqmFEnmB_C3xtq9q87fjLbOyq2PAZeA5wb-5y7g29vgFyqWnaO4P_ppNgcAw533dwSPdunXrRL-hr7ohz69yONZi4Qv_wi7Lyv0hAhYTRIMX4_hI-5d1I4mw-C/s1600/Mochizuki1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6_INyWyE9Q4kkahu5vYRqmFEnmB_C3xtq9q87fjLbOyq2PAZeA5wb-5y7g29vgFyqWnaO4P_ppNgcAw533dwSPdunXrRL-hr7ohz69yONZi4Qv_wi7Lyv0hAhYTRIMX4_hI-5d1I4mw-C/s1600/Mochizuki1.jpg" height="320" width="307" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">YOSHIAKI MOCHIZUKI <i>Untitled, 1/31</i>, 2014 14 x 14 inches gesso on board, clay, palladium leaf</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid4Clp_Z8VIBQvIAAX1mBfNVlwDi1jcNH1SdWjqFK5h93VCOSPbC6EeIVUh2jP4qpzM8ooh_aYuEEP7gECXTDdHdqivhy2jXpP2DnyHRQKDPvckdUzcXRCI9uMNM8Mwz-xS977VClOlQLl/s1600/Mochizuki1+detail_229.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid4Clp_Z8VIBQvIAAX1mBfNVlwDi1jcNH1SdWjqFK5h93VCOSPbC6EeIVUh2jP4qpzM8ooh_aYuEEP7gECXTDdHdqivhy2jXpP2DnyHRQKDPvckdUzcXRCI9uMNM8Mwz-xS977VClOlQLl/s1600/Mochizuki1+detail_229.jpg" height="320" width="230" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">detail of </span><span style="font-family: "Trebuchet MS",sans-serif;"><i>Untitled, 1/31</i></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA345dVBl1tbaozaHwGeY2YqteXtokgOmSAG8K3dtslW1POLqLbFAZSr1MiFhoFZg9lZ0UKwVFd-Q1h-49zoPoZ3zT7Fic9ogxNcamo0oslzRHicPV2Lhx90fGmPLTGeWzPJkHpCAkpL3d/s1600/Mochizuki2_227.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA345dVBl1tbaozaHwGeY2YqteXtokgOmSAG8K3dtslW1POLqLbFAZSr1MiFhoFZg9lZ0UKwVFd-Q1h-49zoPoZ3zT7Fic9ogxNcamo0oslzRHicPV2Lhx90fGmPLTGeWzPJkHpCAkpL3d/s1600/Mochizuki2_227.jpg" height="391" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">YOSHIAKI MOCHIZUKI <i>Untitled, 6/10/13</i>, 2013 14 x 14 inches gesso on board, clay, palladium leaf</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJxn1uNU_FQRs8tZXqEzgsBV1XvqSA2YHAz5RXYHzYCztSEglnDtWjaAuXXCMHbtX_j58_DYYsKTbSzyJDY9UhI0TVFM5XvSXx-kejomMrhiClGg-jtdsm1AkEmV6yv1KnYPXfIl3vAVwV/s1600/Mochizuki2+side_230.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJxn1uNU_FQRs8tZXqEzgsBV1XvqSA2YHAz5RXYHzYCztSEglnDtWjaAuXXCMHbtX_j58_DYYsKTbSzyJDY9UhI0TVFM5XvSXx-kejomMrhiClGg-jtdsm1AkEmV6yv1KnYPXfIl3vAVwV/s1600/Mochizuki2+side_230.jpg" height="200" width="177" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">same panel seen from an angle</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBl2piMy2wAjX68TfS6WwWWrc6m_c-bK00LBGxY9-xYqjKcvZaXwDcZfRxpyuH9wAf-OlSa1GR_DESdz_gfHoogl0a2ITd8cw5AGLeriaSynVg3Yncm3HIyXVOeNuS9b6JQXhWlJdcHjug/s1600/3+Mochizuki__Untitled_7-2_(view_2)_(email)__2014__gesso_on_board__clay__palladium_leaf__14_x_14_in._35.56_x_35.56_cm_CNON_55.439.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBl2piMy2wAjX68TfS6WwWWrc6m_c-bK00LBGxY9-xYqjKcvZaXwDcZfRxpyuH9wAf-OlSa1GR_DESdz_gfHoogl0a2ITd8cw5AGLeriaSynVg3Yncm3HIyXVOeNuS9b6JQXhWlJdcHjug/s1600/3+Mochizuki__Untitled_7-2_(view_2)_(email)__2014__gesso_on_board__clay__palladium_leaf__14_x_14_in._35.56_x_35.56_cm_CNON_55.439.jpg" height="400" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">YOSHIAKI MOCHIZUKI <i>Untitled, 7/2</i>, 2014 14 x 14 inches gesso on board, clay, palladium leaf</span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">The process of layering and polishing, incising the lines, and the repeated reworking of the surface carries through into the experience of viewing Mochizuki's work -- we see one thing, it changes, we look away and it changes once again. </span></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">To see more work from this exhibit, click <a href="http://marlboroughchelsea.com/chelsea/artists/yoshiaki-mochizuki" target="_blank">here</a>.</span></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><br /></span></span>Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com1tag:blogger.com,1999:blog-5008393394459043474.post-16407837075966395812014-07-29T15:23:00.004-04:002014-07-29T15:23:58.938-04:00NYC summer: a selection of group exhibitions<span style="font-family: "Trebuchet MS", sans-serif;">This summer there are numerous group shows in NY galleries featuring abstraction. The work on view spans several generations of artists with varied approaches to abstraction and painting. A few weeks ago, I wrote about the Paintings on Paper exhibition at David Zwirner, which you can <a href="http://tamarzinn.blogspot.com/2014/07/paintings-on-paper-summer-group-exhibit.html" target="_blank">read here</a>. With so much to look at (and much already written about), what follows are a few highlights from several of these exhibits. </span><br />
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<span style="color: blue;"><span style="font-family: "Trebuchet MS", sans-serif;"><b><span style="color: #0b5394;">Eccentric Abstraction /</span></b> <a href="http://www.froschportmann.com/exhibitions.html" target="_blank">Frosch & Portmann</a> <span style="color: black;"><span style="font-size: x-small;"><i>click on gallery name to see more of the exhibit</i></span></span><a href="http://www.froschportmann.com/exhibitions.html" target="_blank"><br /></a></span></span><br />
<span style="font-family: "Trebuchet MS", sans-serif;">Curated by Bill Weiss, this gem of a show includes work by David Hayward, Leslie Wayne, Mamie Holst, Richard Allen Morris and Bill Weiss. This exhibit is up through August 3. I was particularly struck by the rich physicality of the paintings by three of the artists. </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">The work of Leslie Wayne and Richard Allen Morris blur the distinctions between painting and sculpture. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj42oVngUTnTaRlZoGnSp6JFFyClM79ygw699vaqxfVsvaTnDNm9M4ybQJL1r5jEoveIuL9cHDpH71GwVuTZD82yuNCNXaLwT7f1A5ciN6yBDP-AaPX-UxW3CX77s7LF0MfESkgcEnuhM2/s1600/LeslieWayne+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj42oVngUTnTaRlZoGnSp6JFFyClM79ygw699vaqxfVsvaTnDNm9M4ybQJL1r5jEoveIuL9cHDpH71GwVuTZD82yuNCNXaLwT7f1A5ciN6yBDP-AaPX-UxW3CX77s7LF0MfESkgcEnuhM2/s1600/LeslieWayne+.jpg" height="400" width="282" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">LESLIE WAYNE <i>Paint/Rag #4</i>, 2014 oil on panel 16 x 12 x 4</span></td></tr>
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<tr><td style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMDkt1hukhBMXLiphRDkJZ-b7TtUhsR636uhkoww-jzOETN7Fj5QBu8bD0cG7xhtJ8bRSl798lwJEalsJvpYJirC-i21QMVsdXTLpqsw3TbZTAMq00pXqr9WMIlyKzhqQlHVJG0y5XgutR/s1600/LeslieWayne+detail.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMDkt1hukhBMXLiphRDkJZ-b7TtUhsR636uhkoww-jzOETN7Fj5QBu8bD0cG7xhtJ8bRSl798lwJEalsJvpYJirC-i21QMVsdXTLpqsw3TbZTAMq00pXqr9WMIlyKzhqQlHVJG0y5XgutR/s1600/LeslieWayne+detail.jpg" height="320" width="278" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">close up view: LESLIE WAYNE <i>One Big Love #26, </i>2009 oil on panel 11-1/2 x 13-1/4 x 2</span></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFg5O1od1NSN6AQUQ9msGzCqtPpQWCKAcyVE7wHqtYe9hiNIjkv82rGN45owRXt7xoMTXm5EEkbgKVIHYuQPiUHfD19HVX6eLxMCVwjq0fXBvLbEMEFf9ocmkzx35pVP5Z3MibKm4sYLgC/s1600/RichardAllenMorris.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFg5O1od1NSN6AQUQ9msGzCqtPpQWCKAcyVE7wHqtYe9hiNIjkv82rGN45owRXt7xoMTXm5EEkbgKVIHYuQPiUHfD19HVX6eLxMCVwjq0fXBvLbEMEFf9ocmkzx35pVP5Z3MibKm4sYLgC/s1600/RichardAllenMorris.jpg" height="177" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">RICHARD ALLEN MORRIS (left to right) <i>History</i>, 2010, <i>Venus</i>, 2010, <i>Point of View</i>, 2010 acrylic & patch & paint on canvas 10 x 8"</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijQ15-4Y6Xi9yXOhbEdCK81o75tHhlnmnq-NURWj8opy-GRhbUx5GIQtL6GPYWeSU8vnIUMVy8RubiZji2jWrcn6xLcpFFxWxsqaDCt8c9Xc4a8WOgArGj9pQ0MDvU_ZmCw-KRWEO3NHlq/s1600/RichardAllenMorris+detail.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijQ15-4Y6Xi9yXOhbEdCK81o75tHhlnmnq-NURWj8opy-GRhbUx5GIQtL6GPYWeSU8vnIUMVy8RubiZji2jWrcn6xLcpFFxWxsqaDCt8c9Xc4a8WOgArGj9pQ0MDvU_ZmCw-KRWEO3NHlq/s1600/RichardAllenMorris+detail.jpg" height="312" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">close up view: RICHARD ALLEN MORRIS <i>Point of View</i>, 2010 acrylic & patch & paint on canvas 10 x 8"</span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;">Douglas Florian often works on found plywood and subjects the painted surface to additional gouging, imbuing a sense of history to his paintings. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDHUq9mYhgqm1lvEL0wtoOzP-6lBrhlLMqOtvV2WzGfhjoBedeRtPiVxPzq0IUIdshlanYuzQjVMKjWlwn1Do6B-KwvjFK95d261gjfp8SWp3EchXOkus7NyIcsGIOWf1K8uU-4AUEGLrI/s1600/Douglas+Florian.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDHUq9mYhgqm1lvEL0wtoOzP-6lBrhlLMqOtvV2WzGfhjoBedeRtPiVxPzq0IUIdshlanYuzQjVMKjWlwn1Do6B-KwvjFK95d261gjfp8SWp3EchXOkus7NyIcsGIOWf1K8uU-4AUEGLrI/s1600/Douglas+Florian.jpg" height="640" width="419" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">DOUGLAS FLORIAN <i>Bloomsday Way,</i> 2011-2012 31 x 18 3/4 oil on wood</span></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwwMLEITPDS2tqRYcMo-CUCLaycQBEspkLnl8t1VGf7kkYQA4fTNQwAEudXqAF6NBeqsPrbUyTvxU8WMxCi9vrnLP3A7yI8UY_myD_pHhvqQOOW6moa_s3bG3mBmVYF5IvB2Bz9SREj4n1/s1600/DougFlorian+detail.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwwMLEITPDS2tqRYcMo-CUCLaycQBEspkLnl8t1VGf7kkYQA4fTNQwAEudXqAF6NBeqsPrbUyTvxU8WMxCi9vrnLP3A7yI8UY_myD_pHhvqQOOW6moa_s3bG3mBmVYF5IvB2Bz9SREj4n1/s1600/DougFlorian+detail.jpg" height="400" width="377" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">close up view of <i>Bloomsday Way</i></span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="color: blue;"><span style="color: #134f5c;"><b>Starting Out: 9 Abstract Painters 1958 - 1971 /</b> </span> <a href="http://www.tibordenagy.com/exhibitions/starting-out/" target="_blank">Tibor de Nagy </a></span> </span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: x-small;"><i>click on gallery name to see more of the exhibit</i></span></span><br />
<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;">These exhibit (up through August 1) includes work of nine artists who were considered part of the second-generation of NY abstract painters. You can read a fine review of the exhibit by Marcia Yerman by <a href="http://www.huffingtonpost.com/marcia-g-yerman/starting-out-9-abstract-p_b_5534282.html" target="_blank">clicking here</a>. </span></span></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;">Surprisingly, the first painting you see upon entering the gallery is the work of Jane Freilicher, who moved on to landscape and representational work. </span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL28vjjN8wPCTbbGX4OmoLWUsu025NEOB7FTSJs6jjjrI-nTrbHr4YVEV_suCbJos-NJcJo9E0-SIxOlGjilnNpTVLWRNpEKSkb5ECrCeZx6wBW1yvJ7NTGWfGA5grt3-tKMiy2Pbpl_K4/s1600/2014-06-26-FreilicherWEB.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL28vjjN8wPCTbbGX4OmoLWUsu025NEOB7FTSJs6jjjrI-nTrbHr4YVEV_suCbJos-NJcJo9E0-SIxOlGjilnNpTVLWRNpEKSkb5ECrCeZx6wBW1yvJ7NTGWfGA5grt3-tKMiy2Pbpl_K4/s1600/2014-06-26-FreilicherWEB.jpg" height="312" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">JANE FREILICHER <i>Untitled Abstraction </i>c. 1960 49 x 50" oil on canvas</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"> I was also drawn to the paintings by Edward Avedisian and Paul Feeley.</span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigJ0nMkm1TlHqlPQNrfskH9S-sQ2lP_DibNOxsvbixm1k3B2hw_mGy5mi2DnQpxk37nipFPKSl5ImbdZz-VoZ9goRoGr_0v2VVqbBYcTQxN05qRDYU0zyOoAE205WvkAuBD-zzlrfL8xZ0/s1600/EdwardAvedisian.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigJ0nMkm1TlHqlPQNrfskH9S-sQ2lP_DibNOxsvbixm1k3B2hw_mGy5mi2DnQpxk37nipFPKSl5ImbdZz-VoZ9goRoGr_0v2VVqbBYcTQxN05qRDYU0zyOoAE205WvkAuBD-zzlrfL8xZ0/s1600/EdwardAvedisian.jpg" height="320" width="318" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">EDWARD AVEDISIAN <i>Normal Love #1</i>, 1963 67-1/4 x 67-1/2" liquitex on canvas</span></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHQASKEFAgoju8c-rBJcAf0QxFm2Xtii_oRf43Mj2YriddyMVshT0f6ihPOTotZS3u1hJDzjdgzwCaD2gHtgds1E7kbAV9Wu9HsWOvVEZLYNoNy78Do3LViqjJlYX3iWftldcILY7P6PDq/s1600/PaulFeeley.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHQASKEFAgoju8c-rBJcAf0QxFm2Xtii_oRf43Mj2YriddyMVshT0f6ihPOTotZS3u1hJDzjdgzwCaD2gHtgds1E7kbAV9Wu9HsWOvVEZLYNoNy78Do3LViqjJlYX3iWftldcILY7P6PDq/s1600/PaulFeeley.jpg" height="400" width="280" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">PAUL FEELEY <i>Trajan</i>, 1960 69 x 46" oil-based enamel on canvas</span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"><span style="color: #134f5c;"><b>Summer Invitational </b></span>/ <a href="http://elizabethharrisgallery.com/summer%20invitational/summer_invational14_release.html" target="_blank">Elizabeth Harris </a> </span></span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: x-small;"><i>click on gallery name to see more of the exhibit</i></span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"> </span></span></span><br />
<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;">The 2014 summer invitation featured work by Rich Klauber, Joanne Mattera, Paul Mogensen, Gary Peter, and Sarah Walker. Color, geometry, and layered space each had a place in this exhibit.</span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSX3zEKTWujM3yyQInLZCVt1X04RX3KF5qgCMQY_kIEsPIoTairrkqY0-AHlySGy9_M2p9xWVsgOLCjXDiHsTEflgO_T5UbHcXnvNdaRSprwqNDy2yuOVOjqpZkxCbeenqHC4AaGVLGrVQ/s1600/Mattera+ChromaticGeometry+21.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSX3zEKTWujM3yyQInLZCVt1X04RX3KF5qgCMQY_kIEsPIoTairrkqY0-AHlySGy9_M2p9xWVsgOLCjXDiHsTEflgO_T5UbHcXnvNdaRSprwqNDy2yuOVOjqpZkxCbeenqHC4AaGVLGrVQ/s1600/Mattera+ChromaticGeometry+21.JPG" height="320" width="318" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">JOANNE MATTERA <i>Chromatic Geometry 21,</i> 2014 12 x 12" encaustic on panel</span></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO8urCwbk3ruFzAFTOJKpXe01Cqaw6cm9x987E4RrV8DbrUzt-sulCL8ADOx1VntDtmCqjlfYNiUjDHE_O-EWCNQZX3VpKc8I2Af6veegD6C13XuFnOqXMTNYy5yBuQxv-d2yv_nI8tWy_/s1600/Klauber+Editor.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO8urCwbk3ruFzAFTOJKpXe01Cqaw6cm9x987E4RrV8DbrUzt-sulCL8ADOx1VntDtmCqjlfYNiUjDHE_O-EWCNQZX3VpKc8I2Af6veegD6C13XuFnOqXMTNYy5yBuQxv-d2yv_nI8tWy_/s1600/Klauber+Editor.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">RICK KLAUBER, <i>Editor</i>, 2013 46 x 16" acrylic on cedar shims</span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"> <span style="color: #134f5c;"><b>Color as Structure /</b></span> <a href="http://www.mckenziefineart.com/exhib/colorstructure2014exhb.html" target="_blank">McKenzie Fine Art</a> </span></span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: x-small;"><i>click on gallery name to see more of the exhibit</i></span></span><br />
<span style="font-family: "Trebuchet MS", sans-serif;">This splendid exhibit (up through August 1) features work by 16 artists. The gallery press release details the theme: "Color as Structure" examines the ways artists use deliberate color choices to create sculptural or architectonic space in their work as well as exploring aspects of weight, movement, rhythm, light and optical vibration." </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">Below are several of the standout pieces that fit that description beautifully.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwwnvmDJeZ3vIgtwlm8_Iva3T0TkVov1LNvwjUrFY-Pjvyf8PwVGYrWXoOTK3hGdYIP6ZfV7b1DJZecoTIah90hco8yHcxj-XIPlSoSdcKbfjhaqS4wLBjAaC2Svte908ymXRvKUFKjULk/s1600/Zlotsky+Indoor+Voice.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwwnvmDJeZ3vIgtwlm8_Iva3T0TkVov1LNvwjUrFY-Pjvyf8PwVGYrWXoOTK3hGdYIP6ZfV7b1DJZecoTIah90hco8yHcxj-XIPlSoSdcKbfjhaqS4wLBjAaC2Svte908ymXRvKUFKjULk/s1600/Zlotsky+Indoor+Voice.jpg" height="400" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">DEBORAH ZLOTSKY <i> Indoor Voice</i>, 2013 20 x 16" oil on canvas</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZZgAeE3IuYgg6_EsuKDe1PbPxhJBjDdUAJdoffy687JM4OlYW1H5bdx1iSo-EpfhXxwvcNmlfKn9Kzm2aX4IQ6lFYJk0MOS2AV89Qumh9pSyMWaCM22-HsMULxapVzr_GwyNwTwFNyO9l/s1600/martha-clippinger-converge.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZZgAeE3IuYgg6_EsuKDe1PbPxhJBjDdUAJdoffy687JM4OlYW1H5bdx1iSo-EpfhXxwvcNmlfKn9Kzm2aX4IQ6lFYJk0MOS2AV89Qumh9pSyMWaCM22-HsMULxapVzr_GwyNwTwFNyO9l/s1600/martha-clippinger-converge.jpg" height="400" width="321" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">MARTHA CLIPPINGER <i>Converge</i>, 2012 17 x 10-1/2 x 2" acrylic and oil on wood</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjykT-yR36-jlCvCb7aQgd1-MTV11D6P6Bxd4v2UceMrWi9qS0n3m5bk8g_JzziOcKuFggRIwzjOC4yDISvehDlswV6_wSkLlkdh683JWENI_r14zqym518UxlKXrYhxaY6-gqqKtk3tm1r/s1600/Elise+Ferguson.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjykT-yR36-jlCvCb7aQgd1-MTV11D6P6Bxd4v2UceMrWi9qS0n3m5bk8g_JzziOcKuFggRIwzjOC4yDISvehDlswV6_wSkLlkdh683JWENI_r14zqym518UxlKXrYhxaY6-gqqKtk3tm1r/s1600/Elise+Ferguson.jpg" height="400" width="393" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">ELISE FERGUSON <i>NW, bold, </i>2014 24 x 24" pigmented plaster on mdf</span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;"> </span>Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com1tag:blogger.com,1999:blog-5008393394459043474.post-52204545264032902922014-07-01T10:08:00.002-04:002016-01-18T12:21:11.346-05:00PAINTINGS ON PAPER | Summer group exhibit at David Zwirner<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><i>Paintings on Paper.</i> The exhibit title summons up associations of color, gesture, and the immediacy of paint along with the informality of works on paper. The act of painting on paper is personal and intimate. Without the laborious preparation necessary for painting on panels or stretched canvas, and working with the entire field in focus, the painter can execute concentrated and honest investigations. The small size of these paintings demand close examination, and the surface of the various papers provide yet another layer of richness to these explorations.</span></span><br />
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">This splendid exhibit now up at <span style="color: blue;"><a href="http://www.davidzwirner.com/exhibition/paintings-on-paper/" target="_blank"><b>David Zwirner </b>in NYC</a>,</span> includes 48 paintings on paper by 11 artists, most completed in the last six years, but with several pieces dating back to 1949. The artists included in the show span several generations, from Ad Reinhardt and Raoul de Keyser, to Stanely Whitney and Suzan Frecon, to Ilse D'Hollander and Ben Berlow. (The complete list: Ad Reinhardt, James Bishop, Raoul De Keyser, Mary Heilmann, Suzan Frecon, Stanley Whitney, Al Taylor, Paolo Monteiro, Ilse D'Hollander, Rebecca Morris, and Ben Berlow.) </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD8LF6UyntwbmYWZDDeYo7sxbNS1JktGlSxJqs7itILIl9nA9OBUotJLMYLqe5ns2S_d6ObvoMSnYPSwpjqZ9W0jQgeoWeq3o09HwcnLP57EWJBo14u3hVbl3Pqsz3obaW0-tWJqGzm76S/s1600/Raoul+DeKeyser_+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD8LF6UyntwbmYWZDDeYo7sxbNS1JktGlSxJqs7itILIl9nA9OBUotJLMYLqe5ns2S_d6ObvoMSnYPSwpjqZ9W0jQgeoWeq3o09HwcnLP57EWJBo14u3hVbl3Pqsz3obaW0-tWJqGzm76S/s1600/Raoul+DeKeyser_+.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">RAOUL DE KEYSER, <i>Untitled, 1999</i>, watercolor on paper, 9 x 12.25"</td></tr>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">Although for some painters, works on paper may be viewed as studies for larger pieces, these small paintings on paper constitute discrete and fully realized bodies of work for each of these artists. </span></span><br />
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">All of pieces in the exhibition are in the realm of abstraction -- some an investigation of spatial relationships, others referencing structure, while still others incorporate highly personal and ambiguous forms. While gouache is a frequent choice of these artists, there are also works in acrylic, ink, watercolor and oil. The papers on which these pieces are painted range from newsprint and old Indian ledger paper, to highly textured handmade paper and crisp white sheets of Fabriano.</span></span><br />
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">What follows below is a personal tour of the work I found most engaging, rather than a comprehensive walk through the entire exhibit. </span></span><br />
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">. . . . . . . . . .</span></span><br />
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">The exhibit begins with a wall of 7 pieces -- the largest is 8 x 6" -- by <b>Ben Berlow</b> (born in 1980, he is the youngest artist with work in the exhibit.) Executed variously in goauche, caseine, graphite and ink, these offer up a personal take on geometric abstraction and also serve to introduce several threads that run through the exhibit -- intimacy of scale, painterly mark-making, and very personal and introspective investigations.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN3Fs7g9WEWbUAR4NhxuoB5x8am4padgO-lNYveRbLHBQmNoyMFiIjmxwyzYnge7ke_yXCdCKCMeA2VvUfOwTOd2aqDEFMw_ANqBwZAu5CqasmHKasMyMpZ4i4AqlmvQsUQpbtT5-Ylvtr/s1600/Ben+Berlow+wall.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN3Fs7g9WEWbUAR4NhxuoB5x8am4padgO-lNYveRbLHBQmNoyMFiIjmxwyzYnge7ke_yXCdCKCMeA2VvUfOwTOd2aqDEFMw_ANqBwZAu5CqasmHKasMyMpZ4i4AqlmvQsUQpbtT5-Ylvtr/s1600/Ben+Berlow+wall.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">BEN BERLOW, left to right: <i>Untitled, 2013</i>, casein, house paint and graphite on paper, 8 x 8.5"; <i>Untitled, 2013</i>, collage, graphite, gouache, and ink on paper, 8 x 5.5"; <i>Untitled, 2013</i>, casein and graphite on paper, 7.5 x 8.75"</td></tr>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">The north gallery room features work by Al Taylor, Suzan Frecon, Mary Heilmann and Stanley Whitney. On one wall is a group of five pieces from the mid 1980s by <b>Al Taylor</b> ((1948-1999). His work offers up explorations of spatial relationships with open lattice work painted over broad areas of color. These acrylic on newsprint pieces (image size approximately 12.5" high x 10" wide) are bold and unfussy.</span></span><br />
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<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZZFNV2b82AaymHbfMEOXZE2_bb1zNMik3Tsfrfjr2FhAyk0swFsVTnwe4_SWBgscXPSkxkqonz7wylTeabQAc4_YnoHTtBvYoCb8ExEl72-Uqp5hjzVRFy9X8fFO6E4v-mDiZ7uEmGYpY/s1600/AlTaylor_Wall.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">AL TAYLOR</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic6WkDogDe5HRDsiShouTWJlJbJbW3n04LZ6_jyQXRYMI3e81keSS2EzsLApacbNb0GYuOAFsc1iclIPd3Bruqzm42Sx9wUJnhLCV_uZR-X9TQoZSbyy9mEZKzf4Ln0rnFG1_mFN5ldRdJ/s1600/AlTaylor_Acrylic+on+Newsprint.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic6WkDogDe5HRDsiShouTWJlJbJbW3n04LZ6_jyQXRYMI3e81keSS2EzsLApacbNb0GYuOAFsc1iclIPd3Bruqzm42Sx9wUJnhLCV_uZR-X9TQoZSbyy9mEZKzf4Ln0rnFG1_mFN5ldRdJ/s1600/AlTaylor_Acrylic+on+Newsprint.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">AL TAYLOR, left: [no title], ca. 1984-85, acrylic paint on newsprint, 12.5 x 10.25"; right: [no title], ca. 1984-85, acrylic paint on newsprint, 12.5 x 9.75"</td></tr>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"><b><span style="color: blue;"><a href="http://www.davidzwirner.com/artists/al-taylor/survey/" target="_blank">Click here</a></span> </b>to see some of Taylor's three-dimensional assemblages from found materials as well as additional paintings on paper.</span> </span></span><br />
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">4 watercolors by <b>Suzan Frecon</b> (b. 1941) allow for an entirely different experience. Each painting is quietly assertive, suggesting a relaxed contemplation of form and color, the slight awkwardness of the shapes in dialogue with the irregularity of the paper's surface and edges. Frecon works on old Indian ledger paper, often somewhat discolored by age, and each sheet is slightly different in size (11.5 x 16.5" at the largest). Rather than seeking 'perfection' of form, </span></span><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">Frecon asks us to
consider the engagement of the painted forms with the entirety of the
paper--noticing where the form meets the edge of the sheet or extends beyond. </span></span>She often allows the watercolor to puddle, creating subtle variations across the surface and integrating the painted forms into the paper.</span></span><br />
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<tr><td style="text-align: center;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvPD2-VqaNHAyiGqXw2WVu0mrut3ITjrleMKGSjuxXZtA_wI7tTh_GBbrADWrPfvo_TUQIGp_LIP3QtdQCHok7T-vG9aU8I86rWcIsiV0IyzYvgw9cveh81WHDJ5MS1ZDULqYqDp2wpLP5/s1600/Suzan+Frecon_wall.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">SUZAN FRECON</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi3WKEb3qwy6dgpp_NKXnNTOCM4kP7NQUKJgXPF8boq6hrnGS7X0xAVzv-YTqK4uaKYmFqWwAxEcIwYN1I4i2daIBRdPH2kHSkwAm2HaSslMDQfHXvJK8UUum5DIELJDNKtiBJlZ5sDpCM/s1600/SuzanFrecon_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi3WKEb3qwy6dgpp_NKXnNTOCM4kP7NQUKJgXPF8boq6hrnGS7X0xAVzv-YTqK4uaKYmFqWwAxEcIwYN1I4i2daIBRdPH2kHSkwAm2HaSslMDQfHXvJK8UUum5DIELJDNKtiBJlZ5sDpCM/s1600/SuzanFrecon_1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">SUZAN FRECON, <i>curved and angled terre verte over ochre</i>, 2014, watercolor on single-weight agate-burnished Indian jute paper, 11 3/8 x 15 3/4"</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYT39Oo2ZZGtTpxhLPhmZeFKEOG_B2kPbqKaAFU9RNOmV4WhIjkm9EkgUVASPPZPMPBiDqWyX1VtO_nnEKmQE6Socr2sTFzyjvdo6McMR5z21ha-fZeF_-2Ib2V29jJ-pAO3zIWHQGY-EM/s1600/SuzanFrecon_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYT39Oo2ZZGtTpxhLPhmZeFKEOG_B2kPbqKaAFU9RNOmV4WhIjkm9EkgUVASPPZPMPBiDqWyX1VtO_nnEKmQE6Socr2sTFzyjvdo6McMR5z21ha-fZeF_-2Ib2V29jJ-pAO3zIWHQGY-EM/s1600/SuzanFrecon_2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">SUZAN FRECON, <i>quadrant/fan compositions, 2</i>, 2014, watercolor on found agate-burnished old Indian rag ledger paper, 9.75 x 12.25"</td></tr>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">In stark contrast to the serenity of the paintings by Frecon are works by Mary Heilmann and Stanley Whitney. The two pieces by <b>Mary Heilmann</b> (b. 1940) are black and white acrylic on richly textured paper. The stark geometry of her pieces contrast with the irregular edges of the handmade paper. They are no-nonsense, bold statements, one suggesting vertical movement and the other, a layering of space. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6qG_FKD8lyneEIm8RG00_omed3F3BL9Us04KfWwr6JDySr4GMNJ1e-_XXfwEZW7DEZQIeDlYDWWl9VzTvt1EWe7fOga1Ik5feMFFzI7X305N6Mku38X8Rikk5G-rQPUl_5EjlhoI52yLU/s1600/Heilmann+and+Whitney+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6qG_FKD8lyneEIm8RG00_omed3F3BL9Us04KfWwr6JDySr4GMNJ1e-_XXfwEZW7DEZQIeDlYDWWl9VzTvt1EWe7fOga1Ik5feMFFzI7X305N6Mku38X8Rikk5G-rQPUl_5EjlhoI52yLU/s1600/Heilmann+and+Whitney+.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif;">MARY HEILMANN, left; STANLEY WHITNEY, right</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXiEzNzf4nlB-xZm3qXfKvu3wAC3Vujw3kMrEe4_EAxM5Mt62Nz_kbXEVG9NNJqfW9XEaVbjY2S0tdqQRVHAjI-2BUwzvl6e9i5e0ggsU3H1WpywG1AdWwE5NX7MbZ4Bp4ioxpu46SJa1w/s1600/MaryHeilmann_.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MARY HEILMANN, left: <i>Negative Space One</i>, 2014, Acrylic on handmade paper, 11.5 x 11.5"; right: <i>Negative Space Two</i>, 2014, Acrylic on handmade paper, 12 x 15"</td></tr>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">The two elegant pieces by <b>Stanley Whitney </b>(b. 1946), also in black and white, loosely reference the structure of his large, colorful paintings while offering an entirely different investigation. One piece</span></span><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">
suggests a compression of space across the array, while the other
becomes an expansive exhalation. </span></span>Additionally, the irregular lattice-like grids in these gouache pieces also engage with the pieces by Taylor on the adjacent wall. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgxGtdTcsH2dWKBxX_d-ICqaRj__7AK1yJv4m1C9XOcB7JLyAZ3iPJUY9BifaJ6WclItyCzR_68rEz-cHmZ59f-oVr87KqYceibI3C3pkXlye_YlRXIRXkokeXKgr2siFJJ26SskS1jNnp/s1600/StanleyWhitney_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgxGtdTcsH2dWKBxX_d-ICqaRj__7AK1yJv4m1C9XOcB7JLyAZ3iPJUY9BifaJ6WclItyCzR_68rEz-cHmZ59f-oVr87KqYceibI3C3pkXlye_YlRXIRXkokeXKgr2siFJJ26SskS1jNnp/s1600/StanleyWhitney_1.jpg" width="317" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">STANLEY WHITNEY, <i>Untitled, </i>2009, Gouache on Fabriano paper, 11 x 11"</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBKy2ivfM4er1eQE6sf6Wty_dn-YUDMHqgb5dooLiBXwDO3Zx53WCufxRyE6xw_0aospAYRwdVvIErQh25_s3_pKM1aXYffe9l_uRChcRD8C7CByyCOK55kbhrBzHS0ETd98vJ4g3iE_-H/s1600/StanelyWhitney_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBKy2ivfM4er1eQE6sf6Wty_dn-YUDMHqgb5dooLiBXwDO3Zx53WCufxRyE6xw_0aospAYRwdVvIErQh25_s3_pKM1aXYffe9l_uRChcRD8C7CByyCOK55kbhrBzHS0ETd98vJ4g3iE_-H/s1600/StanelyWhitney_2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">STANLEY WHITNEY, <i>Untitled</i>, 2009, Gouache on Fabriano paper, 11 x 15.25"</td></tr>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">Two substantial pieces by <b>Ad Reinhardt </b>(1913-1967) provide a glimpse of mark-making that he gradually eliminated from his later monumental, reductivist paintings. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCwBV9dDqOc9DQiHKiVEVXIbJOCVlZvN79DgsX58XVu83lL0G0UAfHfq8-V2_2dkwprZ9AfWqg8tdG3Fbq4gImgi3VbfNwB6XNNLzdZlKf1RhomM-GsWJlkZiQ-DqgfK6JQg6F65P9y0xf/s1600/Reinhardt_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCwBV9dDqOc9DQiHKiVEVXIbJOCVlZvN79DgsX58XVu83lL0G0UAfHfq8-V2_2dkwprZ9AfWqg8tdG3Fbq4gImgi3VbfNwB6XNNLzdZlKf1RhomM-GsWJlkZiQ-DqgfK6JQg6F65P9y0xf/s1600/Reinhardt_1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">AD REINHARDT, <i>Number 2</i>, 1949-50, gouache, oil and watercolor on paper, 22-1/2 x 31"</td></tr>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">The Belgian painter <b>Ilse D'Hollander</b> (1968-199<span style="font-family: "verdana" , sans-serif;">7</span>) is represented with an installation of six confidently executed gouache on paper</span></span><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"> paintings. While definitively abstract, her palette reflects landscape elements and the compositions reference built structures. Quite small (the largest is 7 x 5"), they invite close examination of her vigorous and fluid brushwork. </span></span><br />
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKPhhSFJHvu4Pz_EAXL03xtgRdN8WK3GN2Jz5BOUhJWXVyS3e5zxcSExUcjJFe8jl-xSGSny8ji5gV7MwKrV1wf_wwWxO8PoLO0ZntwIIvCWDa8nAEF-pPXkT2j497BI50mYGyuoT5mkVE/s1600/Ilse+D%27Hollander_wall.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKPhhSFJHvu4Pz_EAXL03xtgRdN8WK3GN2Jz5BOUhJWXVyS3e5zxcSExUcjJFe8jl-xSGSny8ji5gV7MwKrV1wf_wwWxO8PoLO0ZntwIIvCWDa8nAEF-pPXkT2j497BI50mYGyuoT5mkVE/s1600/Ilse+D'Hollander_wall.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif;">ILSE D'HOLLANDER</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQkp6tkXgYMtsmKr1ofFgbYychQed9YiQJMoF0GBPLcvKAfkNjrOBeR3dGxMwoeNKCD-h8hoctkQRs4AmegBD7ooX7mLuLNmUGjBWgojNo7KtKa75SIElUzsUKRBEDT-yPz2nS0tfE9SXR/s1600/Ilse+D%2527Hollander_IMG_7486.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQkp6tkXgYMtsmKr1ofFgbYychQed9YiQJMoF0GBPLcvKAfkNjrOBeR3dGxMwoeNKCD-h8hoctkQRs4AmegBD7ooX7mLuLNmUGjBWgojNo7KtKa75SIElUzsUKRBEDT-yPz2nS0tfE9SXR/s1600/Ilse+D%2527Hollander_IMG_7486.jpg" width="311" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">ILSE D'HOLLANDER, <i>Untitled</i>, 1996, gouache on paper, 6-7/8 x 5"</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">Intrigued by this
introduction to her work, my online search revealed a body of larger
oil paintings suffused with emotional intensity. <span style="font-size: x-small;"><span style="color: blue;"><b><a href="http://konradfischergalerie.de/" target="_blank">Click here </a></b></span>to see a selection of her oil paintings and scroll across. </span></span></span></span></span></span>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">The work of <b>Raoul de Keyser</b> (1930-2012) brings us into the realm of personal and ambiguous iconography. Four of the five pieces on exhibit include closed ovoid forms that float across the sheet (see De Keyser image at the top of this post). <span style="font-size: x-small;">Apologies for all the distracting reflections in the photos, but they were unavoidable.</span></span></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgerAaVZV5I3b8BxCuIYV1mGLt0FGeGJs-D-ui90WcwOSae4YKfGGisjrixJdFYbQDaYNYgMgj6Q7S3ES4zV6DQrj-zSQo3j1TvaozlSoiJeU7rKfCcR0NXNHz79mAsgQrmNJdG3TjdqU41/s1600/DeKeyser_7485.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgerAaVZV5I3b8BxCuIYV1mGLt0FGeGJs-D-ui90WcwOSae4YKfGGisjrixJdFYbQDaYNYgMgj6Q7S3ES4zV6DQrj-zSQo3j1TvaozlSoiJeU7rKfCcR0NXNHz79mAsgQrmNJdG3TjdqU41/s1600/DeKeyser_7485.jpg" width="312" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">RAOUL DE KEYSER, <i>Untitled</i>, 2000, pencil and watercolor on paper, 7 1/16 x 4 7/8"</td></tr>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">Given my inclination towards structure, I also found the piece below deeply satisfying. </span></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiFBOwYMK9-cte1ZxaNjO6Rc2i58ZeK7WTTHm8hWMJqFSAR32kzgeTYAxoSKBdUlvwDVotsfpf1_5-_Gr00SuP_zQuGf9BUsH34Yo8iJAELssOUIPiDJ7vAlSClxi8hDmSpYEvMuj2LtmF/s1600/Raoul+de+Keyser_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiFBOwYMK9-cte1ZxaNjO6Rc2i58ZeK7WTTHm8hWMJqFSAR32kzgeTYAxoSKBdUlvwDVotsfpf1_5-_Gr00SuP_zQuGf9BUsH34Yo8iJAELssOUIPiDJ7vAlSClxi8hDmSpYEvMuj2LtmF/s1600/Raoul+de+Keyser_1.jpg" width="260" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">RAOUL DE KEYSER, <i>Untitled</i>, 1997, Watercolor on paper, 14-1/8 x 8-1/4"</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><b>Rebecca Morris </b>(b. 1969) is represented with a diverse group of 5 pieces, several with somewhat formal compositional elements. More substantial in size than many other works in the exhibit, her use of ink and watercolor overlayed an inviting informality to the rigor of the compositions. </span></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrgSdznvWSJTFRQwOWvTy0althKw6nFMgTmPXLv6NXzNadu08Z0B7QZPIJIDMJIGNUQyoJlq1wJRZIhEIeDOlzA1s-G7tmraD5g6AuTLkDf3uy3RWBPSuBfLbo1PUMmwPaPxK4axwAF9w8/s1600/RebeccaMorris_7482.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrgSdznvWSJTFRQwOWvTy0althKw6nFMgTmPXLv6NXzNadu08Z0B7QZPIJIDMJIGNUQyoJlq1wJRZIhEIeDOlzA1s-G7tmraD5g6AuTLkDf3uy3RWBPSuBfLbo1PUMmwPaPxK4axwAF9w8/s1600/RebeccaMorris_7482.jpg" width="296" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">REBECCA MORRIS, <i>Untitled</i> (#292-13), 2013, Ink and watercolor on paper, 20 x 14 3/16"</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDXULV4WwDuW0xADrVvq9ekh2fhx5kkxlHpbcyrCHdqlPJmd-umhsICGoY8t5vsNns7wOf1PPP_NBpJgbHQZ25qRS_EqZcGL8ibhm1nGuIRiXS24MoAd8hBYo7mcZpll1DxJEiSUgTQ1dE/s1600/RebeccaMorris_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDXULV4WwDuW0xADrVvq9ekh2fhx5kkxlHpbcyrCHdqlPJmd-umhsICGoY8t5vsNns7wOf1PPP_NBpJgbHQZ25qRS_EqZcGL8ibhm1nGuIRiXS24MoAd8hBYo7mcZpll1DxJEiSUgTQ1dE/s1600/RebeccaMorris_.jpg" width="307" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container"><tbody>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;">REBECCA MORRIS, <i>Untitled</i> (#300-13), 2013, Ink and watercolor on paper, 23-15/16 x 17-13/16"</span></span></td><td class="tr-caption" style="text-align: center;"></td></tr>
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</span></span><br />
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">The exhibit includes two recently executed and subtly-hued pieces by <b>James Bishop</b> (b. 1927) that quietly investigate flat space and linear structure, as well as several works by <b>Paolo Monteiro </b>(b. 1961) that depict colorful personal vistas.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcRvXxXLSF_n7t25bDlzeC7-4eiNrGEtmbeJf-ctzrRgaJZktzXTNlViYG5FLkmYFtuLL1JLhJxg7F3t86mBHYj1dSvAmhhRYe_FdtwraaVTltnIralNpxEo2NRYr2pL5Xs_gOqSeSrY0v/s1600/James+Bishop_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcRvXxXLSF_n7t25bDlzeC7-4eiNrGEtmbeJf-ctzrRgaJZktzXTNlViYG5FLkmYFtuLL1JLhJxg7F3t86mBHYj1dSvAmhhRYe_FdtwraaVTltnIralNpxEo2NRYr2pL5Xs_gOqSeSrY0v/s1600/James+Bishop_2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif;">JAMES BISHOP, <i>Untitled</i>, 2011, Oil and crayon on paper, 4 x 4-1/2"</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizvDjQp5bBv2FQ9YGQu0NvkeIlK_eVUZhRkpZW1bFUHYnsljRZ-cBCh12zaVTrFNQ3mWVgM3CUU0o8FgpPcF6v-sCfKvcdz0MK-Sg8NVWLX0-hyWXXH9LumRD_gUGdVhRd4lG3yIWPvIH0/s1600/Paulo+Monteiro_7509.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizvDjQp5bBv2FQ9YGQu0NvkeIlK_eVUZhRkpZW1bFUHYnsljRZ-cBCh12zaVTrFNQ3mWVgM3CUU0o8FgpPcF6v-sCfKvcdz0MK-Sg8NVWLX0-hyWXXH9LumRD_gUGdVhRd4lG3yIWPvIH0/s1600/Paulo+Monteiro_7509.jpg" width="301" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">PAOLO MONTEIRO, <i>Untitled</i>, 2012, watercolor on paper, 14-15/16 x 10-15/16"</td></tr>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">This is just a small sample of the 48 works in this wonderfully satisfying show. <i>Paintings on Paper</i> remains on exhibit through August 15, 2014 at David Zwirner, 537 West 20th Street, New York.</span></span><br />
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">To see the entire image list from the exhibit, <a href="http://www.davidzwirner.com/exhibition/paintings-on-paper/?view=works" target="_blank"><span style="color: blue;"><b>click here.</b></span></a> </span></span>Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com3tag:blogger.com,1999:blog-5008393394459043474.post-76504804840841978032014-03-15T22:00:00.001-04:002014-03-22T18:09:59.448-04:00Sincerity and calm: Mingei at Pace Gallery<style>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span style="font-size: large;">Mingei: Are You Here? </span></b></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://www.pacegallery.com/newyork/exhibitions/12615/mingei-are-you-here" target="_blank">PACE</a> / 508 West 25th Street, through April 5, 2014</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><i>Mingei</i> was a Japanese folk craft movement established in
1926 when the Japan was experiencing rapid westernization and urbanization.<span style="mso-spacerun: yes;"> </span>As stated in the press release for this exhibit:<span style="mso-spacerun: yes;"> </span>[Mingei] sought to maintain the cultural
identities and traditions of varied histories across Japan. The title of the
exhibition refers to the philosophical ethos of Mingei which champions the
everyday, ordinary and utilitarian objects created by nameless and unknown
craftsmen.”</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Kettle hook hanger, Daikoku Type, 19th century, zelkova wood</td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;">What makes this exhibit so wonderful is the juxtaposition of
work from across centuries and traditions, both eastern and western, all linked
by the devotion to principles of simplicity and sincerity. Again, quoting from the press release: "According to Soetsu Yanagi, Founder of the Mingeikan -- Japan Folk Crafts Museum, 'Dishonesty, depravity, and luxury - this is what Mingei objects must avoid at all costs; all that is natural, sincere, safe and simple -- these are the characteristics of Mingei art.' "</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDbLXzRL1UE9XnnBt8yappoe6yQAqjPpvbOyrTnGmBfPkO2v-TzrBods7vKM9RGkBndaYKzEjqFX3_T902Cl31HnpzScWz3SuLGQN1XZC8feHwfYeSzXkJm6ZBcwyTaY-N31DfFEEqCpG0/s1600/7161+Mingei.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDbLXzRL1UE9XnnBt8yappoe6yQAqjPpvbOyrTnGmBfPkO2v-TzrBods7vKM9RGkBndaYKzEjqFX3_T902Cl31HnpzScWz3SuLGQN1XZC8feHwfYeSzXkJm6ZBcwyTaY-N31DfFEEqCpG0/s1600/7161+Mingei.jpg" height="400" width="247" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">James Lee Byars ink on paper drawing (see full caption below) and Kenzo Tange, Chair, 1957, plywood frame and back, upholstered seat</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">James Lee Byars, <i>Untitled</i>, c. 1959, ink on Japanese paper, in 4 parts. <i>Please note that the central area is actually uninflected black ink; what reads as dark spots is a reflection from a gallery wall.</i></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;">The exhibit, curated by Nicolas Trembley, includes more than
80 items (paintings, sculptures, works on paper, ceramics and textiles) made by
unnamed Japanese craftsmen, Eastern and Western 20<sup>th</sup> century artists
and designers, as well as contemporary artists. On view: a 16th century ceramic sake container, a 1981 obsidian sculpture by Noguchi, elegant porcelain pottery designed by Peter Muller, as well as tattered pre-WWII Japanese textiles. The 30
artists include Anni Albers, Josef Albers, Isamu Noguchi, Ruth Asara, James
Lee Byars, designers Peter Muller, Kenzo Tange, and Charlotte Perriand, as well
as other contemporary and traditional artists. Apart from several brightly hued hangings, much of the work reflects a rich but neutral palette of black, white, tan and brown.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">It is beautifully installed and fortunately, there are no
labels to interfere with the experience of gazing at the work. (An exhaustive list is available at the gallery desk if you want all the
details. All caption information is from the gallery list.)<span style="mso-spacerun: yes;"> </span>There are even a couple of
benches in the gallery to allow for more relaxed contemplation, which this work most certainly encourages.<span style="mso-spacerun: yes;"> </span>The one annoyance (which will be evident from
the photos) was that it was difficult to fully enjoy the works framed under
glass because of excessive reflections. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Sgrafo Modern Korallen Series (designed by Peter Muller), c. 1960-1980, porcelain</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR4QkbGPx2YCD46FUfC8McUMbYtsvUi9wNf0NYU6IWfsNvOVhcY9WrGrzboPEYk94VgpXTOnTbX8jlBtCiyQfNg_oUsIkDsMKdRwxN3-ybX5_YHLyQOGBgNeqA_DQ6xvP0tJHm1z7QNgPG/s1600/7160+Mingei.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR4QkbGPx2YCD46FUfC8McUMbYtsvUi9wNf0NYU6IWfsNvOVhcY9WrGrzboPEYk94VgpXTOnTbX8jlBtCiyQfNg_oUsIkDsMKdRwxN3-ybX5_YHLyQOGBgNeqA_DQ6xvP0tJHm1z7QNgPG/s1600/7160+Mingei.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lee Ufan, <i>From Winds</i>, 1982, watercolor on paper </td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;">While I will be returning to the gallery for a second (and probably third) look, the standouts this time were the ink on paper drawings by James Lee Byars, works by Noguchi and the
Kenzo Tange chair. Several of the older ceramic pieces were placed in protective vitrines and I was unable to capture decent photos, but I will add images of more of the textiles after a return visit.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">For installation views, visit the Pace website by clicking <a href="https://www.pacegallery.com/newyork/exhibitions/12615/mingei-are-you-here" target="_blank">here</a>. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">To read an article about the exhibit in The Brooklyn Rail, click <a href="http://www.brooklynrail.org/2014/03/artseen/mingei-are-you-here" target="_blank">here</a>. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Front row, far left</i>: Sake Bags, Pre-WWII. <i>Center</i>: Mino, Farmers rain cape, early 1900s, woven rice straw, hemp and seawood. <i>Right</i>: Backpack, late 1800s, indigo dyed cotton, fiber. <i>Back</i>: James Lee Byars, <i>Untitled</i>, c. 1960, ink on Japanese paper</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ33Bh7bo-inXHl5poi6L5_cZQk6eqDPxkFx88l4kVNbqGo8i_cSF1BQaNCi48qKEN4dU8zJuJhyWyiydqY3FEMEG8gzj9SWTV2MUgiWBQpWSQdLO_AixZpYJi3XptQOfrhkX7KrFlfO9t/s1600/7168+Mingei.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ33Bh7bo-inXHl5poi6L5_cZQk6eqDPxkFx88l4kVNbqGo8i_cSF1BQaNCi48qKEN4dU8zJuJhyWyiydqY3FEMEG8gzj9SWTV2MUgiWBQpWSQdLO_AixZpYJi3XptQOfrhkX7KrFlfO9t/s1600/7168+Mingei.jpg" height="400" width="322" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Front, left:</i> Valentin Carron, Pot 1, 2013, concrete. <i>Front, right:</i> a glimpse of an 18th century stoneware sake bottle. <i>Wall, left</i>: Robert Ryman, <i>Marshall</i>, 1998, oil and acrylic on stretched linen. <i>Right</i>: Ruth Asawa, <i>Untitled</i> <i>(S. 114. Hanging, Six-Lobed Continuous Form within a Form with One Suspended and Two Tied Spheres),</i> c. 1958, iron copper and brass wire.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi62vYQ1uwGnUSmMiOJX6MGvxbe3Qu0EB2SkRrUCOadidgTY1y80jQaeV9293sUa0un7NrVh2E0Kxn-U9IDv3-1HJhTdW-K2Rg11q8zJXaVmm0iP_mmhO0j7WODU4W4FmvQy94TDYG6E0jO/s1600/7172+Mingei.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi62vYQ1uwGnUSmMiOJX6MGvxbe3Qu0EB2SkRrUCOadidgTY1y80jQaeV9293sUa0un7NrVh2E0Kxn-U9IDv3-1HJhTdW-K2Rg11q8zJXaVmm0iP_mmhO0j7WODU4W4FmvQy94TDYG6E0jO/s1600/7172+Mingei.jpg" height="449" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Left</i>: Ruth Asaw (see above). <i>Center</i>: Isamu Noguchi, <i>Untitled</i>, 1981, obsidian. <i>Right</i>: Charlotte Perriand, Low chair, c. 1950, bamboo. <i>On the wall:</i> N. Dash, <i>Untitled</i>, 2014, adobe, pigment, acrylic, linen, jute, wood support</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIvaI_zYbmRJcgHuxRtdZsS2lKqAtYitYisP9y9uI5vF0pYf7PP1Vt1p0BlasjS-AuMrw7envP6_Jm_dE4o_W1wuA2vgdgA3D_STRTxngPpHMeaZ1nrlXQSBjAYt83SV7y3MW1Ujuxnzl7/s1600/7170+Mingei.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIvaI_zYbmRJcgHuxRtdZsS2lKqAtYitYisP9y9uI5vF0pYf7PP1Vt1p0BlasjS-AuMrw7envP6_Jm_dE4o_W1wuA2vgdgA3D_STRTxngPpHMeaZ1nrlXQSBjAYt83SV7y3MW1Ujuxnzl7/s1600/7170+Mingei.jpg" height="316" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>From left:</i> Anni Albers, <i>Haiku</i>, 1961, cotton, hemp, metallic thread, wool; Josef Albers, <i>Tialoc</i>, 1944, woodcut; Josef Albers, <i>Above the Water,</i> 1944 woodcut; Josef Albers, <i>Astatic</i>, 1944, woodcut; Josef Albers, <i>Zelle/Tents</i>, 1932, woodcut. Courtesy the Josef and Anni Albers Foundation.</td></tr>
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Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com0tag:blogger.com,1999:blog-5008393394459043474.post-61206584541725920402014-01-25T21:37:00.001-05:002014-01-25T21:37:45.663-05:00A year in the studio<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Trebuchet MS";"><span style="color: blue;"><b>A
little over a year ago, I walked into my nearly empty studio soon after a group
of paintings had been shipped out for a <a href="http://tamarzinn.blogspot.com/2013/01/still-dancing.html" target="_blank">solo exhibit</a>.</b></span> I gave myself a week to
catch my breath, settle down and then resume my work in the studio.<span style="mso-spacerun: yes;"> </span>Although I hoped to avoid the post-exhibit
slump, I felt listless and directionless. I started to work on several new
paintings that were directly connected to the previous body of work, but with
little enthusiasm. As this continued for several weeks, I became increasingly
despondent. Was I struggling because I had just hit a tough spot, or was I
struggling because it was time to shift directions?<span style="mso-spacerun: yes;"> </span>In preparation for the solo exhibit, I had narrowed
my focus—not wanting to become distracted. Perhaps this was the moment to
re-engage with ideas that had cropped up earlier but had been put aside.</span></div>
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<span style="color: blue;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Trebuchet MS";">The most exhilarating, but at
times terrifying pursuit in the studio can be to set off in new directions--
exhilarating, because everything seems possible; terrifying, because nothing is
certain.</span></b></span><span style="font-family: "Trebuchet MS";"> <span style="mso-spacerun: yes;"> </span>To place some limits on the uncertainty I set
up a few rules. First, since my paintings develop slowly over many months, I decided
to do small works on paper that could be executed fairly rapidly. <span style="mso-spacerun: yes;"> </span>Next, since one element of my recent work had
emphasized areas of rhythmic busyness, I would push myself to dramatically pare
down the compositions.<span style="mso-spacerun: yes;"> </span>Finally, not only
would I limit compositional complexity, I would also place restrictions on my
palette.<span style="mso-spacerun: yes;"> </span>Of course, through all of this
I recognized that while these forays might yield dramatic changes in my work,
they might also just lead to a subtle realignment of priorities.</span></div>
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<span style="font-family: "Trebuchet MS";">Over
the next twelve months I would follow my rules, completely abandon them, and then
return to them once again. I found myself energized, utterly deflated, and occasionally
thrilled at what I saw emerging in the studio. I would work with great
enthusiasm and then hit a wall. I saw connections to topics I addressed in
previous posts on this blog (<a href="http://tamarzinn.blogspot.com/2013/03/painting-in-black-and-white.html" target="_blank">Painting in Black and White</a>; <a href="http://tamarzinn.blogspot.com/2013/10/a-personal-take-on-rockburne.html" target="_blank">A personal take on Rockburne</a>).
But as the year progressed, I felt as if I had accomplished very little.<span style="color: #e36c0a; mso-themecolor: accent6; mso-themeshade: 191;"> </span></span></div>
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<span style="font-family: "Trebuchet MS";">In
preparation for a studio visit towards the end of 2013, I looked at all that I
had done--looking for the common threads, looking to see which (if any) of the
directions I had pursued resonated with me.<span style="mso-spacerun: yes;">
</span>Several observations emerged from this review: It was a relief to
discover that I hadn’t wasted my year; I quickly identified avenues that held
little interest for me; I had a better understanding of several directions that
did excite me; but I still had no idea where I was heading.</span></div>
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<span style="font-family: "Trebuchet MS";">What
follows then, is a glimpse of my year in the studio, roughly in the sequence
that I worked on each project (some of which were pursued simultaneously). Although
I’ve provided just a few images, each project includes between 10 and 25 finished pieces. </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="color: blue;"><i>February 2013 / Untitled oil on paper, 9.75 x 10.5 inches</i></span></span><br />
<span style="font-family: "Trebuchet MS", sans-serif;">My first series shows a close connection to the work from the exhibit, although I did follow my rule of working with a restricted palette. Determined to break away from rigid rectilinear forms, I abandoned this group after a few weeks.</span></div>
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<span style="font-size: small;"><i><span style="font-family: "Trebuchet MS";"><span style="color: blue;"><span style="font-family: "Trebuchet MS", sans-serif;">March 2013 / Untitled gouache and oil pastel 6 x 6 inches</span></span></span></i></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS";"><span style="color: blue;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="color: black;">This project was prompted both by my interest in working in black and white as well as a desire to add linear gestures to my images. </span></span></span></span><i><span style="font-family: "Trebuchet MS";"><span style="color: blue;"><span style="font-family: "Trebuchet MS", sans-serif;"> </span></span></span></i></span><br />
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<span style="color: blue;"><i><span style="mso-bidi-font-weight: normal;"><span style="font-family: "Trebuchet MS";">April – July 2013<span style="mso-spacerun: yes;"> </span>/<span style="mso-spacerun: yes;"> </span><b><span style="mso-bidi-font-style: normal;">Criss Cross</span></b><span style="mso-spacerun: yes;"> </span>oil on paper, 9.75 x 10.5 inches </span></span></i></span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;">Although the process would be slower, I resumed my work with oil paint on paper, with an emphasis on developing compositions that were spare, but dynamic</span>. <span style="font-family: "Trebuchet MS", sans-serif;">As the series expanded, the palette gradually shifted into colors I considered more decorative, adding an unwanted associative element. </span></div>
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<span style="color: blue;"><i><span style="mso-bidi-font-weight: normal;"><span style="font-family: "Trebuchet MS";">June -July 2013<span style="mso-spacerun: yes;"> </span>/<span style="mso-spacerun: yes;"> </span><b>This
That</b><span style="mso-spacerun: yes;"> </span>oil on paper<span style="mso-spacerun: yes;"> </span>10 x 6.25 inches</span></span></i></span></div>
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<span style="font-family: "Trebuchet MS";">I found the
process of developing <i>This That</i> meditative and quite satisfying. Once again, I was searching for a dynamic tension while restricting the number of elements in the composition. I also wanted to dip my toes into working with curvilinear forms, something I generally avoid.</span></div>
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<span style="color: blue;"><i><span style="font-family: "Trebuchet MS";">July
2013<span style="mso-spacerun: yes;"> </span>/<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>charcoal on
paper<span style="mso-spacerun: yes;"> </span>8.25 x 9 inches</span></i></span></div>
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<span style="color: blue;"><span style="font-family: "Trebuchet MS";"><span style="color: black;">With this group of drawings, I returned to making visible marks but worked the image by lifting off charcoal with a kneaded eraser, rather than by adding lines on top of the field (as I had done with the gouache and oil pastel). The drawings were executed quickly, meeting one of my rules.</span></span></span></div>
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<span style="color: blue;"><i><span style="font-family: "Trebuchet MS";">August
– September 2013<span style="mso-spacerun: yes;"> </span>/<span style="mso-spacerun: yes;"> </span><b>Tangle</b><span style="mso-spacerun: yes;">
</span>charcoal on paper<span style="mso-spacerun: yes;"> </span>8.25 x 9
inches</span></i></span></div>
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<span style="color: blue;"><span style="font-family: "Trebuchet MS";"><span style="color: black;">Clearly, this series marked a major departure for me. It emerged in response to my boredom working with more or less parallel lines, and immediately engaged my interest. After I built up the field of charcoal and began to draw (with a kneaded eraser), the images emerged fairly rapidly, in a single, relatively short work session. Although I've taken a hiatus from this series, it has a very powerful hold on me--I love the intense energy these drawings embody. I expect there will be another iteration of <i>Tangle</i>--perhaps in a few months, perhaps in a few years. </span></span></span><br />
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<span style="color: blue;"><i><span style="font-family: "Trebuchet MS";"> May
2013 – January 2014<span style="mso-spacerun: yes;"> </span>/<span style="mso-spacerun: yes;"> </span><b>Untitled</b> <span style="mso-spacerun: yes;"> </span>oil on wood panel<span style="mso-spacerun: yes;"> </span>15” x 14.5 inches </span></i></span></div>
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<span style="font-family: "Trebuchet MS";">Although one of my self-imposed rules had been to restrict myself to work that could be produced quickly, I repeatedly returned to this series of small wood panels throughout much of the year. </span><span style="font-family: "Trebuchet MS";">In earlier paintings on panel, I used rough sandpaper on small patches of the paintings to create textures and reveal underlayers. Now I wanted to see what happened when those areas became a more prominent element in my compositions and in my process. As with my earlier paintings, the process entails multiple sessions in the studio until the composition of each painting begins to emerge. Thin paint layers are repeatedly added and partially sanded off. Yes, these are slow paintings. But I stuck to my other rules of keeping the composition spare and the restricting the palette. </span><br />
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<span style="font-family: "Trebuchet MS"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast;">It is clear to me that I'm not yet ready to settle down. Indeed, there are already a few new explorations underway. But it has been a satisfying year in the studio. </span>
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Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com18tag:blogger.com,1999:blog-5008393394459043474.post-69638596610545323422014-01-01T15:48:00.003-05:002014-01-01T21:51:17.932-05:00Leon Polk Smith<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">The work of Leon Polk Smith (1906-1996) is currently featured in two exhibits (in New York at <a href="http://www.washburngallery.com/current/" target="_blank">Washburn Gallery</a> and in Chicago at <a href="http://valeriecarberry.com/polksmith.php" target="_blank">Valerie Carberry</a>), and was recently the focus of a 'Kabinett' at Art Basel Miami Beach. His paintings and works on paper are included in numerous museum collections across the United States and he is well known to those acquainted with American minimalism. The impact of Leon Polk Smith on several generations of reductivist artists is profound. However, I expect that Smith's work is not familiar to some, or perhaps many, of my readers. While I prefer his early work, I've included images from his entire oevre. <a href="http://leonpolksmithfoundation.org/" target="_blank"></a></span></span><br />
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<span style="font-size: small;"><i><span style="color: #783f04;"><span style="font-family: "Trebuchet MS",sans-serif;">"The content of all of my works for over forty
years has been mainly concerned with space and color. And my driving interest
in the study of the history of art and its evolvements has been with artists'
concepts of space and their use of color." </span></span><span style="font-family: "Trebuchet MS",sans-serif;"> </span></i></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">(<span style="font-size: x-small;"><i>Leon Polk Smith, 1982. Published in Leon Polk Smith, Wilhelm-Hack-Museum, Ludwigshafen am Rhein and Musee de Grenoble, 1989</i></span>)</span></span></div>
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<span style="color: red;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">To consider the work of Leon Polk Smith, it is helpful to acknowledge the influence of Mondrian, which Smith did quite directly in his paintings of the 1940s and 1950s. <span style="color: black;">The <a href="http://www.washburngallery.com/exhibitions/2006_11_leon-polk-smith/?view=images" target="_blank">2006 cente<span style="color: black;">nary</span> exhibit at Washburn Gallery</a> shows this quite eloquently. </span></span></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="font-size: x-small;"><i>(All photos in this section are from the Washburn Gallery website).</i></span></span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">Installation view of the 2006 centenary exhibit</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0LjoV351T2b28izgQKFCRWZfnHgXLC8WFeLthVh3s_GI7RDZFOV6fmOa8_4THIBzWrO8FEtsvczxJLRibpguoFNiOhp01gzV71PZ83Fs-7f1RH393hABYU3fct9UcWKOtDqt6JVk0y5Oh/s1600/3e0a565a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0LjoV351T2b28izgQKFCRWZfnHgXLC8WFeLthVh3s_GI7RDZFOV6fmOa8_4THIBzWrO8FEtsvczxJLRibpguoFNiOhp01gzV71PZ83Fs-7f1RH393hABYU3fct9UcWKOtDqt6JVk0y5Oh/s200/3e0a565a.jpg" width="158" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">LEON POLK SMITH <i>Diagonal Passage #9,</i> 1949, oil on canvas, 46 x 36 inches</span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="color: red;">The current exhibit at Washburn Gallery</span> in NY: <a href="http://www.washburngallery.com/current/" target="_blank"><b>Cherokee | Chickasaw | Choctaw</b></a> shows a selection of his work from the 1940s. Smith grew up in Oklahoma and had Cherokee ancestors. The influence of the visual traditions of the Southwest are clearly evident in the work of this period, as is the influence of Mondrian. <span style="font-size: x-small;"><i>(All photos in this section are from the Washburn Gallery website).</i></span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5CRLHMjJ_77y9uAXdfwyOY3Ea636Ng_s9ycZFUL1I4DT-_-wg6RP2uJjtC0HRTUU3jDIUimQ6v5KFCJZVAfBCCFDxGh8mVLbiHYp2E4GWWPpAO2yhCswK3_mIPCPV73zHiAyRbBYBLuwk/s1600/1945_D_0090.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5CRLHMjJ_77y9uAXdfwyOY3Ea636Ng_s9ycZFUL1I4DT-_-wg6RP2uJjtC0HRTUU3jDIUimQ6v5KFCJZVAfBCCFDxGh8mVLbiHYp2E4GWWPpAO2yhCswK3_mIPCPV73zHiAyRbBYBLuwk/s320/1945_D_0090.jpg" width="225" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">LEON POLK SMITH <i>Untitled</i>, 1945, gouache on paper, 19 7/8 x 14 1/4 inches</span></span></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">LEON POLK SMITH <i>Untitled</i>, 1945, gouache on paper, 40 x 25 1/2 inches</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">LEON POLK SMITH <i>Untitled</i>, 1946, gouache on paper, 40 x 25 1/2 inches</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">LEON POLK SMITH <i>Composition in Red, Yellow, Black</i>, 1948, oil on wood panel, 12 x 12 inches</span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="color: red;">In the 1950s, Smith began to move away from rectilinear forms. <span style="color: black;">He also began to work on shaped canvases, with a reduced palette and pared down compositions often limited to just two or three forms. Additional work from the 1950s can be seen below in the section on the exhibit at Valerie Carberry.</span></span></span></span><br />
<span style="font-size: x-small;"><i><span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: red;"><span style="color: black;">(Images in this section are from the <a href="http://leonpolksmithfoundation.org/" target="_blank">Leon Polk Smith Foundation</a>)</span></span></span></i></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_czQe53xaIvf_5wLSwIMtXfCE2KQSfTTgnekXBnotpQFtj6d4IYADkQZjtfpv72ReGZkL6htRHnA3CUeekEvfjhnG7CHtceQzOWPKa7dK84v1BXdJLUiFiF_goVjuPRcIdR_ecyyQT9cw/s1600/kanawa_1956.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_czQe53xaIvf_5wLSwIMtXfCE2KQSfTTgnekXBnotpQFtj6d4IYADkQZjtfpv72ReGZkL6htRHnA3CUeekEvfjhnG7CHtceQzOWPKa7dK84v1BXdJLUiFiF_goVjuPRcIdR_ecyyQT9cw/s320/kanawa_1956.jpg" width="317" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">LEON POLK SMITH <i>Kanawa</i>, 1956 oil on canvas, 41 inches diameter</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">LEON POLK SMITH <i>Okemah</i>, 1955 oil on canvas, 47 inches diameter </span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="color: red;">The Kabinett installation at Art Basel Miami Beach</span> (from Valerie Carberry Gallery) featured work from the 1950s and 60s. <span style="font-size: x-small;"><i>(Photos in this section courtesy of <a href="http://www.joannemattera.blogspot.com/" target="_blank">Joanne Mattera Art Blog</a>).</i></span></span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;"><span style="font-size: x-small;">LEON POLK SMITH <i>Untitled</i>, 1963, enamel on wood, 12.25 x 3.625 x 1.5 inches </span></span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;"><br /></span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="color: red;">The current exhibit at Valerie Carberry</span> in Chicago, <a href="http://valeriecarberry.com/polksmith.php" target="_blank"><b>Leon Polk Smith: Space Considered</b></a> includes paintings and collages from the mid 1950s through mid 1960s. </span></span><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="font-size: x-small;"><i>(All photos in this section are from the Valerie Carberry Gallery website).</i></span></span></span></div>
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<span style="color: #660000;"><i>"I set out from Mondrian to find a way of freeing
this concept of space so that it could be expressed with the use of curved line
as well as straight. I soon found that this was not an easy thing to do. After
more than a decade of intense search and painting (in 1954) somewhat by
accident, while drawing with free line on a spherical surface, I observed a
concomitant situation wherein the idea of space and form were complimentary to
each other as well as interchangeable." </i>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">(<span style="font-size: x-small;"><i>Leon Polk Smith, 1961. Published in Leon Polk Smith, Wilhelm-Hack-Museum, Ludwigshafen am Rhein and Musee de Grenoble, 1989</i></span>).</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">LEON POLK SMITH <i>Untitled</i> collage on paper, 1958, 26.25 x 20.25 inches</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">LEON POLK SMITH <i>WHITE-WHITE</i> acrylic on paper, 1955, 23.75 x 19 inches</span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><br /></span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><br /></span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><br /></span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">LEON POLK SMITH <i>Red-Black-Red (2 Approaching Spheres)</i> oil on shaped masonite, 1955, 17 x 10.25 inches</span></span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><span style="color: red;">In the 1960s and 1970s, Smith's focus shifted to clusters of shaped canvases</span> <span style="color: red;">and significantly increased in size.</span> I have included photos from the <a href="http://www.brooklynmuseum.org/opencollection/exhibitions/1185/Leon_Polk_Smith%3A_American_Painter" target="_blank">1995 exhibit at the Brooklyn Museum</a> to provide a sense of scale. This exhibit included work from the 1930s through the 1990s. At the museum website are many installation views as well as descriptive information about the evolution of Smith's work.</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="font-size: x-small;"><i>(All photos in this section are from the Brooklyn Museum website).</i></span></span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">To give you a sense of the dramatic increase in scale, the double panel painting shown above, <i>Form Space #1: Red Wing,</i> 1979, is 48 x 181 inches (in the collection of MOMA). </span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="color: red;">The 1960s through 1980s brought a return to a brighter, multi-colored palette as Smith continued working with shaped canvases, often in large clusters.<span style="color: black;"> The 1990s, the final period of work, brought a renewed interest in line, simplified composition and a reduced palette. </span></span></span></span><br />
<span style="font-size: x-small;"><i><span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: red;"></span></span></i></span><br />
<span style="font-size: x-small;"><span style="font-size: small;"><span style="color: red;"><span style="color: black;"></span></span></span><i><span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: red;"><span style="color: black;">(Images in this section are from the <a href="http://leonpolksmithfoundation.org/" target="_blank">Leon Polk Smith Foundation</a>)</span></span></span></i></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFTRwlmnE5_fDa3FCzXtajS1eIFBKagyAkBsKTWlRPFQ5eHiHrYPr4qOSndZnGdm1_O-So-GHJxlmDlGprKyraGQqfEqtVaFdsak6z259xnMa0rMSqKBR1aYqCVm7X0hZaQoJZgzm9RtiT/s1600/70s_constellation04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFTRwlmnE5_fDa3FCzXtajS1eIFBKagyAkBsKTWlRPFQ5eHiHrYPr4qOSndZnGdm1_O-So-GHJxlmDlGprKyraGQqfEqtVaFdsak6z259xnMa0rMSqKBR1aYqCVm7X0hZaQoJZgzm9RtiT/s320/70s_constellation04.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">LEON POLK SMITH <i>Constellation Blue-Gold, </i>1972 oil on canvas, 4 elements, 82 x 95 3/4 inches</span></span></td><td class="tr-caption" style="text-align: center;"></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">LEON POLK SMITH <i>Sunset Caribe, </i>1983 acrylic on canvas, 60 x 112 inches</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG9IklOAT9imVSgmMPW8ZstZcy4pyxk3MJmdOp8Ip7awB18_3cMwzBuk_PcLJpF2wVQcZE2V_1IyDSvjmLD8B5Kiv-Pl6MpIOrZiwD7WSHs-5OvL3hnKG5nBle8hT5x8c53TSkVQ8cWFpN/s1600/open_space_1990.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG9IklOAT9imVSgmMPW8ZstZcy4pyxk3MJmdOp8Ip7awB18_3cMwzBuk_PcLJpF2wVQcZE2V_1IyDSvjmLD8B5Kiv-Pl6MpIOrZiwD7WSHs-5OvL3hnKG5nBle8hT5x8c53TSkVQ8cWFpN/s320/open_space_1990.jpg" width="317" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">LEON POLK SMITH <i>Open Space, </i>1990 acrylic on canvas, 68 x 60 inches</span></span></td></tr>
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</div>
<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><span style="color: red;"><span style="color: black;">Throughout his fifty+ year career, Leon Polk Smith's work evidenced a joyful embrace of color and form, and it is gratifying that it continues to be actively exhibited.</span></span></span><br />
<span style="font-size: small;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"> </span><br />
<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">To see an archive of images along with biographical information and interviews, visit the <a href="http://leonpolksmithfoundation.org/" target="_blank">Leon Polk Smith Foundation. </a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"></span></span><br />
<span style="font-size: x-small;"><i><span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: red;"><span style="color: black;"><br /></span></span></span></i></span>
<span style="font-family: "Trebuchet MS",sans-serif;"></span><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"></span></span></div>
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Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com4tag:blogger.com,1999:blog-5008393394459043474.post-39655131313476520032013-10-20T18:09:00.000-04:002013-10-20T18:09:06.976-04:00A personal take on Rockburne<h2>
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--> </style><span style="font-weight: normal;"><span style="font-family: Verdana,sans-serif; font-size: small;"><span style="color: #0b5394;"><span style="font-family: Verdana,sans-serif;">Although I have seen many exhibits of her work over the past thirty years, </span>my recent visit to <a href="http://www.moma.org/visit/calendar/exhibitions/1391" target="_blank">Dorothea Rockburne: Drawing Which Makes Itself</a> (on view at MOMA
through January 20, 2014) </span><span style="color: #0b5394;">prompted me to explore why her work matters to me. After much looking and reading, I understood that Rockburne's appeal came from the open-ended possibilities that her work offered me, and that how she uses materials is central to my experience of her work.</span> </span><span style="font-size: x-small;"><i><span style="font-family: Verdana,sans-serif;">I've incorporated quotations from a number of interviews and articles, and a list of links to the complete articles can be found at the end of this post.</span></i></span></span></h2>
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<span style="font-size: small;"><i><span style="color: #0b5394;"><span style="font-family: Verdana,sans-serif;">But first, a <u>very brief</u> glimpse of the MOMA exhibit. </span></span></i></span><br />
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<span style="font-family: Verdana,sans-serif; font-size: small;"><i>Drawing Which Makes Itself</i> is organized
around a series of works from the early to mid-1970s, executed in a variety of
materials, such as carbon-paper, cut and folded
paper, kraft paper coated with copal varnish as well as chipboard infused with crude
oil. Also included are several pieces from the 1980s in paper,
watercolor on vellum and canvas, as well as two fairly recent watercolors. The exhibit title is derived from the
large wall and floor installations from the 1970s that are on view
(created using carbon, carbon transfer, and pencil on paper). For an installation view, <a href="http://www.moma.org/visit/calendar/exhibitions/1391" target="_blank">click here</a>. Many of the works on exhibit inhabit a space somewhere between drawing and sculpture.</span></div>
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<span style="font-family: Verdana,sans-serif; font-size: small;"> <i> </i></span><br />
<span style="font-family: Verdana,sans-serif; font-size: small;">Several pieces and series were of particular interest to me. </span><br />
<span style="font-family: Verdana,sans-serif; font-size: small;"><i> </i></span><br />
<span style="font-family: Verdana,sans-serif; font-size: small;"><i>Locus</i> is a series of six folded paper pieces. Although not initially apparent, these are relief etchings with aquatint on folded paper. </span><span style="font-family: Verdana,sans-serif;"><span style="font-size: 11pt;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">There appear to be both incised and embossed lines and </span>some sections of the paper are matte, while other areas have a slightly reflective surface. </span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeO8KWlHVBL90-Q3IPNNnvhdkAeUUQ-r_hFU28wnRAPX1uOzAukrOAv-tdmiQ8dbZD-RhyldX80MwQT6upRj6ImM_kQejthQkGfUvUp0e3d8Ab7nfNpFw0tn2pUj-6EpPbFpIlnTjstiB-/s1600/from+LOCUS+2+MOMA.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeO8KWlHVBL90-Q3IPNNnvhdkAeUUQ-r_hFU28wnRAPX1uOzAukrOAv-tdmiQ8dbZD-RhyldX80MwQT6upRj6ImM_kQejthQkGfUvUp0e3d8Ab7nfNpFw0tn2pUj-6EpPbFpIlnTjstiB-/s400/from+LOCUS+2+MOMA.jpg" width="308" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><i><u>Above and below:</u> </i> Dorothea Rockburne Untitled from <i>Locus</i>, 1972 Etching and aquatint on folded paper 39 3/4 x 30 1/16"</span></td><td class="tr-caption" style="text-align: center;"> </td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw7LUelY9mQ3c2UBvTQrK3Uk1_aALydZ-c-CurGax0bnhnAXDFXNl6JD8-FLX5Stf9H5oclcpuQvccm4gJZCp1CxDNRtQLLSzW8PdyuzEqhN4-BX0Jby1hvPPxMbI2cOULkSHR7h8kEmSK/s1600/RockburneLocus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw7LUelY9mQ3c2UBvTQrK3Uk1_aALydZ-c-CurGax0bnhnAXDFXNl6JD8-FLX5Stf9H5oclcpuQvccm4gJZCp1CxDNRtQLLSzW8PdyuzEqhN4-BX0Jby1hvPPxMbI2cOULkSHR7h8kEmSK/s320/RockburneLocus.jpg" width="243" /></a></div>
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<span style="font-family: Verdana,sans-serif; font-size: small;">Several pieces from the <i>Copal</i> series are also on view. These drawings, from 1977-79, are executed on Kraft paper with copal oil, varnish, and blue pencil. As with the <i>Locus</i> series, some surface areas are matte, while others are more reflective. Additionally, as the folded layers overlap, there are varying degrees of translucence or opacity. N.B. I couldn't find an image from the <i>Copal</i> series; pictured below is work from similar series.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCz0XSER43z9JxPHXaFyH6lNDzhXoDfuD8wz_y11fAzCTSl9HsKtT6-398f8PLHlWm6cIfWMgX0LyXmrAoqb16lx0wgzJ3RTAEMW8mEu-SvYdIXWrhbB3ROS0A7zoYrEnE3OtSR9bSIc-K/s1600/Roman+Series.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCz0XSER43z9JxPHXaFyH6lNDzhXoDfuD8wz_y11fAzCTSl9HsKtT6-398f8PLHlWm6cIfWMgX0LyXmrAoqb16lx0wgzJ3RTAEMW8mEu-SvYdIXWrhbB3ROS0A7zoYrEnE3OtSR9bSIc-K/s320/Roman+Series.jpg" width="280" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Dorothea Rockburne <i>Roman Series: Roman II,</i> 1978 kraft paper, varnish and blue colored pencil on ragboard 44 x 39"</span></td></tr>
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<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Perhaps my favorite work in this show is a wall installation titled <i>Scalar</i>. To create this piece, Rockburne soaked pieces of chipboard and paper in crude oil. The resulting panels have a variety of visual textures--some are rather grainy in appearance while others are soft and atmospheric. The rectangular panels are arranged with some overlap and nailed to the wall. An oil saturated sheet of paper emerges from between two panels on the left side, providing the single curved element of the piece, as well as serving to add physical depth to an otherwise flat piece.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5qot5FlYMNUsC2GEx3sjJlTw7roHjEZWBZbc4triSLITxGTcRDCc0zB-5rUPrgM1P9PuNbIB8GtVJEccQice-AQA0FaX8Rg64zw_NgxpQ34WedbG66ibGEM_pf_bicsYMmhQmugJKwDEl/s1600/RockburneScalar1971.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5qot5FlYMNUsC2GEx3sjJlTw7roHjEZWBZbc4triSLITxGTcRDCc0zB-5rUPrgM1P9PuNbIB8GtVJEccQice-AQA0FaX8Rg64zw_NgxpQ34WedbG66ibGEM_pf_bicsYMmhQmugJKwDEl/s400/RockburneScalar1971.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Dorothea Rockburne <i>Scalar</i>, 1971 chipboard, crude oil, paper and nails 80 x 114.5 x 3.5" Collection of the Museum of Modern Art</span></td></tr>
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<span style="font-family: Verdana,sans-serif; font-size: small;"><i><span style="color: #0b5394;">My journey with Rockburne's work.</span></i> </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-family: Verdana,sans-serif;"><span style="font-size: 11pt;"><span style="font-size: small;">My initial exposure to
Rockburne’s work came in the mid-1980s. At that time, although I was mesmerized
by the work of Mondrian and Diebenkorn, I was far more comfortable
viewing and making work that was to a great degree anchored in representation. So I was puzzled, yet tantalized, by Rockburne’s <i>Angel</i> series, with its juxtaposition of vibrantly hued fields against a tight geometry of folded forms. I was unable to articulate what drew me to her work, but I felt compelled to stay with it. That was the first lesson of her work-- take your time, stay with it, keep looking. <span style="font-size: xx-small;">(One piece from the <i>Angel</i> series is included in the MOMA exhibit).</span></span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjen9mrQuuqviXtfnke0D_pl-QkMgCyw3TnrWLHXEEYPzIoCMVHFzRYZoGVw8T_rgZLgkyAGoK4BqYUO1t3IWrFmzSWeLn09ObK42u0X8wewNZ7sQyKoSEi_rXuTieI9MnaKZ_LBFTWUZhp/s1600/Angel+Study%252C+Influence+67259.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjen9mrQuuqviXtfnke0D_pl-QkMgCyw3TnrWLHXEEYPzIoCMVHFzRYZoGVw8T_rgZLgkyAGoK4BqYUO1t3IWrFmzSWeLn09ObK42u0X8wewNZ7sQyKoSEi_rXuTieI9MnaKZ_LBFTWUZhp/s400/Angel+Study%252C+Influence+67259.jpg" width="265" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Dorothea Rockburne <i>Angel Study, Influence</i> 1982 watercolor on vellum, 32.5" x 25.5" </span></td></tr>
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<span style="font-family: Verdana,sans-serif;"><span style="font-size: 11pt;"><i><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"></span></span></i><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;"></span></span></span><br /></span></span>
<span style="font-family: Verdana,sans-serif; font-size: small;">I continued to follow her work over the decades, intrigued by some exhibits, but often finding myself distanced from and unable to find my way in.<i> </i>And there I left it. But now, decades later, the significant evolution of my own work has made it the right time to explore the connections I continue to feel with Rockburne's work. </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-family: Verdana, sans-serif; font-size: small;"><span style="color: #0b5394;"><b>ROCKBURNE and MATHEMATICS</b></span> Much has been made of Rockburne's extensive study of mathematics when she was a student at Black Mountain College. While she did explore set theory and the geometry of the golden section, she insists that her work should not be seen as being <i>about</i> mathematics. Rather, that mathematics is but one facet of thinking that contributes to her work. </span><br />
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<span style="font-size: x-small;"><i>“My interest in Set
Theory is not that Set Theory has to do with art, because it doesn’t. I am an
artist, and it is one of my tools, the way graphite is. The usage of it comes
from personal experience......... </i></span></span><span style="font-family: Verdana, sans-serif;"><span style="font-family: Calibri; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-theme-font: major-latin;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><i>
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<i>In
Peru, I visited the ruins at Sacsayhuaman outside of Cusco. The way the stones
go together got to me. It’s not about huge stones. The experience of the object
relates to particular intellectual inquiries: the decisions of mass and
interstices, one never dominating the other. The “Set” of stones sits there
quietly, an experience of information</i>
“</i></span></span><span style="mso-spacerun: yes;"><span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;"><i> </i></span></span> </span></span><span style="mso-bidi-font-style: normal;"><span style="font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: major-latin;">From an Interview with Dorothea Rockburne by
Jennifer Licht, Artforum, March 1972</span></span>
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<span style="font-family: Verdana, sans-serif; font-size: small;"><span style="font-family: Verdana, sans-serif;">Although when I look at Rockburne's work I'm not thinking about the way it is informed by her interest in mathematics, her comments about set theory provide me with another way of considering my own explorations. Set theory is very much about identifying the attributes that establish inclusion or exclusion from the set. While of course, there are underlying rules in my own work, the parameters are often fairly porous in that I never know where the work will take me. When I accept into the painting a form, mark or color that falls outside the preferred attributes, it often becomes the mark around which the piece coalesces. So to the extent that we are aware of the attributes of a set, we become highly attuned to what is possible just beyond it. That was lesson 2, also central to my understanding of Rockburne.</span> </span><br />
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="font-family: Verdana, sans-serif;"><span style="color: #0b5394;"><b>ROCKBURNE and MATERIALS</b></span> </span></span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Perhaps
it is our expectation that narrowing one's choice of materials will
necessarily narrow the range of outcomes. But with Rockburne I find
that not at all to be the case. It is as if by deliberately limiting the
materials she uses for each series, she has freed up what she can
achieve. </span><span style="font-family: Verdana,sans-serif;">The
works within a series don't repeat an experience but instead offer
subtle variations on it. And what we can glean from looking at just one
piece is magnified considerably after spending time with several pieces in the series.</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="font-family: Verdana,sans-serif;">Clearly,
her choice of materials impacts our experience, but it does not define
it. (Her selection of crude oil and chip board for <i>Scalar</i> was deliberate, but due in large part to its low cost and ready availability.) </span>Again, as with her familiarity with mathematics, her work isn't <i>about</i>
a particular material (such as crude oil or carbon paper), but rather
its use reveals other things she wants us to notice. By coating parts of
a sheet of kraft paper with copal varnish, we experience the way light
falls on different areas of the sheet, its translucence or opacity. </span><span style="font-family: Verdana,sans-serif;"><span style="font-family: Verdana,sans-serif;"><i>Locus</i> got me thinking about hard and soft folds and how we perceive what is barely visible.</span><span style="font-family: Verdana,sans-serif;"> </span>In the <i>Angel</i> series, by folding a sheet of brilliant but disembodied color into stark geometric forms, she makes us aware of planes, space, and light, and yes, the beauty of the colors. </span><span style="font-family: Verdana,sans-serif;">Lesson 3--limit your options and then run wild, see where it can take you.</span></span><br />
<br />
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<span style="font-family: Verdana, sans-serif; font-size: small;"><span style="color: #0b5394;"><b>ROCKBURNE and SLOW ART</b></span> </span><br />
<span style="font-family: Verdana, sans-serif;"><span style="font-family: Verdana, sans-serif;"><span style="font-size: small;">Rockburne's work is very much about expanding our perceptions, not limiting them. One needs to be patient, because what her work offers is not revealed quickly. However, Rockburne suggests that while she works for "a complexity of ideas. . . . that doesn't mean that the work is complicated."</span> </span></span><span style="font-family: Verdana, sans-serif;"><span style="mso-bidi-font-style: normal;"><span style="font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: major-latin;">Jennifer Licht, Artforum, March 1972</span></span></span><br />
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<span style="font-family: Verdana,sans-serif; font-size: x-small;"><i><span style="font-family: Calibri;"> <span style="font-family: Verdana,sans-serif;">“One
of the keys to Rockburne’s work is that there is no explicit message encoded
within her overlapping, interpenetrating, light filled planes. They are neither
comments about the art object nor icons to the ineffable. They manage to
accomplish something far more difficult in these grim, materialistic times;
they evoke beauty, openness, the usefulness of doubt, and the possibility of
creative freedom. Both deeply self critical and wildly assertive, their dynamic
realm is riddled with uncertainties, and yet inhabited by imagination and
desire.” </span></span></i><span style="font-family: Calibri;"><span style="font-family: Verdana,sans-serif;">John Yau, from the introduction to a 1989-1990 exhibition at Andre Emmerich Gallery.</span></span></span></blockquote>
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Rockburne's work is achieved after a great deal of thinking and planning, but is not in any way didactic. Instead of channeling a viewer towards a particular answer, with patience one arrives at a place of wonder. So I have returned to the first lesson I absorbed from her work many years ago--it isn't necessary to have understanding to find meaning, just keep looking.</span></span><br />
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<span style="color: #0b5394;"><b><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">LINKS</span></span></b></span><br />
<br />
<span style="font-family: Verdana,sans-serif;"><span style="font-size: 11pt;"><span style="font-size: x-small;"><a href="http://www.moma.org/visit/calendar/exhibitions/1391" target="_blank">Click here</a> for the current Rockburne exhibit at MOMA.</span></span></span><br />
<span style="font-family: Verdana,sans-serif;"><span style="font-size: 11pt;"><span style="font-size: x-small;"> </span></span></span><br />
<span style="font-family: Verdana,sans-serif;"><span style="font-size: 11pt;"><span style="font-size: x-small;"><a href="http://www.dorothearockburne.com/articles/licht.html" target="_blank">Click here</a> to read the Jennifer Licht interview with Rockburne, </span></span></span><span style="font-family: Verdana,sans-serif;"><span style="font-size: 11pt;"><span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: 11pt;"><span style="font-size: x-small;"><i>Artforum, </i></span></span></span>March 1972 </span></span></span><br />
<br />
<span style="font-family: Verdana,sans-serif;"><span style="font-size: 11pt;"><span style="font-size: x-small;"><a href="http://www.dorothearockburne.com/articles/lightanddark.html" target="_blank">Click here</a> to read John Yau, "Light and Dark", introduction to the exhibition catalog for DOROTHEA ROCKBURNE New Work: Cut-Ins, Andre Emmerich Gallery, 1989-1990. </span></span></span><br />
<br />
<span style="font-family: Verdana,sans-serif;"><span style="font-size: 11pt;"><span style="font-size: x-small;"><a href="http://www.jillnewhouse.com/curexh.asp?ExhID=55" target="_blank">Click here</a> for information about a Rockburne exhibit now up at Jill Newhouse Gallery, New York. The exhibit includes additional works from the 1973 series, <i>Drawing Which Makes Itself.</i> </span></span></span><br />
<span style="font-family: Verdana,sans-serif;"><span style="font-size: 11pt;"><span style="font-size: x-small;"><span style="font-size: small;"> </span></span></span></span><br /><span style="font-family: Verdana,sans-serif;"><span style="font-size: 11pt;"><span style="font-size: x-small;">Rockburne maintains a website on artnet.com with a comprehensive selection of her work from the 1960's to the present. <a href="http://www.artnet.com/usernet/awc/awc_thumbnail.asp?aid=139842&gid=139842&works_of_art=1&cid=15776" target="_blank">Click here</a> to view the website.</span></span></span><br />
<span style="font-family: Verdana,sans-serif;"><span style="font-size: 11pt;"><span style="font-size: x-small;"></span></span></span>Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com2tag:blogger.com,1999:blog-5008393394459043474.post-1999359067306450032013-08-12T20:23:00.001-04:002013-08-13T22:04:16.214-04:00Summer round-up<span style="font-family: Verdana, sans-serif; font-size: large;">As NYC galleries close their doors for the late-summer break, here's a glimpse of what I saw at several group exhibits...... </span><br />
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<b> </b></span></span><br />
<span style="color: #cc0000; font-size: large;"><span style="font-family: Verdana, sans-serif;"><span style="font-family: Verdana, sans-serif;"><b>DOPPLER</b></span></span></span><br />
<span style="font-family: Verdana,sans-serif; font-size: small;">at <a href="http://www.parallelartspace.com/Parallel_Art_Space/Current.html" target="_blank">Parallel Art Space</a></span><br />
<br />
<span style="font-family: Verdana,sans-serif; font-size: large;">C</span><span style="font-family: Verdana,sans-serif; font-size: large;"><span style="font-family: Verdana,sans-serif;">urated by Mel Prest, <i>Doppler</i> features work by 22 artists who explore the interplay of two and three dimensional space, </span>often hovering in a sensory space between the two. The installation beautifully highlights
dialogues between clusters of adjacent works. With the exception of a
wall painting by Gilbert Hsiao and a large canvas by Karen Schifano, all
of the pieces on exhibit are intimate in size. </span><br />
<span style="font-family: Verdana,sans-serif; font-size: large;"><br /></span>
<span style="font-family: Verdana,sans-serif; font-size: large;">The
work on view spans a wide variety of approaches to art-making: ranging
from the pared down elegance of Brent Hallard, Kevin Finklea and Richard
Bottwin, to the complex surfaces of Mel Prest, Stephen Maine and Steven
Baris, and the subtle geometries of Debra Ramsay and Nancy White.</span><br />
<br />
<span style="font-family: Verdana,sans-serif; font-size: large;"><span style="font-family: Verdana,sans-serif;">For a comprehensive walk through of the exhibit, </span><span style="font-family: Verdana,sans-serif;"> <a href="https://www.facebook.com/richard.bottwin/media_set?set=a.10200387759039343.1073741826.1316507956&type=1" target="_blank">click here</a> to see</span><span style="font-family: Verdana,sans-serif;"> photographs</span><span style="font-family: Verdana,sans-serif;"><span style="font-family: Verdana,sans-serif;"> </span>taken by Richard Bottwin, one of the artists whose work is in the exhibit. </span></span><br />
<span style="font-family: Verdana,sans-serif; font-size: large;"><br /></span>
<span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-size: large;">There is still one more weekend to see this wonderful exhibit, which closes on Sunday, August 18.</span></span></span></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"><br /></span></span></span></span>
<span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"><br /></span></span></span></span>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmabTJqm0v2zUPg02JihsNL5cry-77vZXEyiaZK9iGysJCkW-ZCPohqfmcv2Dv-IxfnoBq2fAuo8P7n1BnzpHYQ7J48a3tR8fKSmEgjxsHHub5dHNp-tfkgMdijBarNr1QHSjzgUio9XOc/s1600/1009797_478226922271286_1930644891_n.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmabTJqm0v2zUPg02JihsNL5cry-77vZXEyiaZK9iGysJCkW-ZCPohqfmcv2Dv-IxfnoBq2fAuo8P7n1BnzpHYQ7J48a3tR8fKSmEgjxsHHub5dHNp-tfkgMdijBarNr1QHSjzgUio9XOc/s400/1009797_478226922271286_1930644891_n.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;">Installation view, <span style="font-size: xx-small;"><span style="font-size: x-small;">left wall GILBERT HSIAO. </span>photo from Parallel Art Space FB page</span></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHRO-av5x9ytprdBHZ2uP3Qbg0wkUS03jdpgRWv3DCQms4mPNojcdem-DCGt5nYEn4D7itGNHNfb_MDo4i35LQIUj3-MQUlUoE7Ybbxpva6C3PIGvsHVkwGxaQpkAVHzYRGe1NsXU06U5k/s1600/Doppler.1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHRO-av5x9ytprdBHZ2uP3Qbg0wkUS03jdpgRWv3DCQms4mPNojcdem-DCGt5nYEn4D7itGNHNfb_MDo4i35LQIUj3-MQUlUoE7Ybbxpva6C3PIGvsHVkwGxaQpkAVHzYRGe1NsXU06U5k/s400/Doppler.1.jpg" width="333" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;">From top left, counter-clockwise: ALBERT ROSKAM, RICHARD BOTTWIN, RUTH VAN VEENEN</span></span>, <span style="font-family: Verdana,sans-serif;"><span style="font-size: xx-small;">photo courtesy of Richard Bottwin</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW-YPmM9RO-M9qq6hVrNWkus0Uop79BQ52eYWqjTeewUabigNsd49oO83wXMButVi-R4gkAXT0iE7bxSNIGXuzkpd6Q6MWly8_0FpVSI7FaDvWOw2Z_OdKLm8hZi7m4-SJptInZB_R5Yzp/s1600/1012703_10200387763319450_1710142400_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW-YPmM9RO-M9qq6hVrNWkus0Uop79BQ52eYWqjTeewUabigNsd49oO83wXMButVi-R4gkAXT0iE7bxSNIGXuzkpd6Q6MWly8_0FpVSI7FaDvWOw2Z_OdKLm8hZi7m4-SJptInZB_R5Yzp/s400/1012703_10200387763319450_1710142400_n.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;"> From left to right: GRACE KHOUW, STEPHEN MAINE, MEL PREST, EDGAR DIEHL <span style="font-size: xx-small;">photo courtesy of Richard Bottwin</span></span></span></td></tr>
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<span style="color: #cc0000; font-size: large;"><span style="font-family: Verdana, sans-serif;"><b> </b></span></span><span style="font-family: Verdana,sans-serif; font-size: small;">Parallel Art Space, 17-17 Troutman Street, Ridgewood NY </span>
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<span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;"><a href="http://www.mckenziefineart.com/" target="_blank"><br /></a></span></span>
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<span style="color: #cc0000; font-size: large;"><span style="font-family: Verdana, sans-serif;"><b>STRAIGHT
LINES IN FIVE DIRECTIONS</b></span></span><br />
<span style="font-family: Verdana,sans-serif; font-size: small;">at <a href="http://www.garveysimonartaccess.com/exhibitions/" target="_blank">Garvey|Simon Art Access in Chelsea</a></span><br />
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<span style="font-size: small;"><span style="font-family: Verdana, sans-serif;"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-theme-font: minor-latin;"><span style="font-family: Verdana, sans-serif;"><span style="font-size: large;">Explorations of the straight line by five artists working with different intentions and in a variety of materials. </span></span></span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3e6L_2qeRAruifEP6VsGsu3-CrAkEz4grw0MivxKfAuU1-POCS0f8b99yfc5L9Mnjs75tJuegBNABuU0qmUTv2FWrDQg_zpUkHerKZQuY9mnTApISur0ipch-DnDJiu4bkgOVMvt3Zw-3/s1600/SCHWALB+Toccata_60_MINI0.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3e6L_2qeRAruifEP6VsGsu3-CrAkEz4grw0MivxKfAuU1-POCS0f8b99yfc5L9Mnjs75tJuegBNABuU0qmUTv2FWrDQg_zpUkHerKZQuY9mnTApISur0ipch-DnDJiu4bkgOVMvt3Zw-3/s200/SCHWALB+Toccata_60_MINI0.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana,sans-serif;">SUSAN SCHWALB <i>Toccata #60</i>, 2013 Mixed metalpoint on paper 9 x 9 inches</span></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-size: small;"><span style="font-family: Verdana, sans-serif;"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-theme-font: minor-latin;"><span style="font-family: Verdana, sans-serif;">You can see more work by Schwalb by <a href="http://www.susanschwalb.com/" target="_blank">clicking here</a>.</span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: Verdana, sans-serif;"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-theme-font: minor-latin;"><span style="font-family: Verdana, sans-serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAXbvKLaXx5g9-OyO0FwutunxjZ-HGyNGNIEJg_KVDMoxmL3ZNrcUV3APqt0EccCOOmoGObwt-KvtVjk9ZMJOj3thObvQQpINKuONEEBgva19PtA7azndnWalH9ZF7TcSeR_9vXbhPB2bG/s1600/KATE+CARR+Block_E3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAXbvKLaXx5g9-OyO0FwutunxjZ-HGyNGNIEJg_KVDMoxmL3ZNrcUV3APqt0EccCOOmoGObwt-KvtVjk9ZMJOj3thObvQQpINKuONEEBgva19PtA7azndnWalH9ZF7TcSeR_9vXbhPB2bG/s320/KATE+CARR+Block_E3.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">KATE CARR <i> Block E</i>, 2012 Baltic birch plywood and felt 20 x 5 x 3 inches</span></td></tr>
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<span style="font-size: small;"><span style="font-family: Verdana, sans-serif;"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-theme-font: minor-latin;"><span style="font-family: Verdana, sans-serif;">See more work by CARR by <a href="http://katecarrart.com/wall/" target="_blank">clicking here</a>. </span></span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8nbMeh-OeCV6nTMRlfQeTRcm095k_3nEr0D-enipnY2wJm9NCg1zS1-q_xsSm9TMqI9x81ldrswxwvDybdg2Sfx4nOVouLm82ufZl2R5L-gsyZmcG2rbkC0MKXC0PGzoS5OLXPGByMiBV/s1600/DAN+WALSH+925_002_000_OGV0.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8nbMeh-OeCV6nTMRlfQeTRcm095k_3nEr0D-enipnY2wJm9NCg1zS1-q_xsSm9TMqI9x81ldrswxwvDybdg2Sfx4nOVouLm82ufZl2R5L-gsyZmcG2rbkC0MKXC0PGzoS5OLXPGByMiBV/s400/DAN+WALSH+925_002_000_OGV0.jpg" width="282" /> </a></td><td style="text-align: center;"></td><td style="text-align: center;"></td><td style="text-align: center;"></td></tr>
<tr align="center"><td class="tr-caption"><span style="font-family: Verdana,sans-serif;"> DAN WALSH <i>Untitled (OGV-Violet, OGV-Green & OGV-Orange)</i>, 2007 Set of three woodcuts, each 23 x 49 inches </span></td></tr>
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<span style="font-size: small;"><span style="font-family: Verdana, sans-serif;"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-theme-font: minor-latin;"><span style="font-family: Verdana, sans-serif;">You can see more prints by Walsh by <a href="http://www.paceprints.com/artist/925/925-004-001" target="_blank">clicking here</a>.</span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana, sans-serif;"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-theme-font: minor-latin;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></span></span>
<span style="font-family: Verdana,sans-serif; font-size: small;"><span style="font-family: Verdana, sans-serif;">This group exhibit (with work by Kate Carr, Susie Rosmarin, Susan Schwalb, James Siena and Dan Walsh) remains up through August 23. Garvey|Simon Art Access, 547 West 27th Street, New York. Photos from the gallery website.</span></span><br />
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<span style="color: #cc0000; font-size: large;"><span style="font-family: Verdana, sans-serif;"><span style="font-family: Verdana, sans-serif;"><b>RETICULATE</b></span></span></span><br />
<span style="font-family: Verdana,sans-serif; font-size: small;">at <a href="http://www.mckenziefineart.com/" target="_blank">McKenzie Fine Art </a></span><br />
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<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: 12pt;"><span style="font-size: large;">The focus of this group exhibit was work in which webs and nets play a role in the construction of space. <i>Reticulate</i> features work by 17 artists which vary in size from the intimate ink on paper drawings of Lori Ellison and small panels by Laura Sharp Wilson to large canvases by Jason Karolak and Jason Rohlf.</span> <span style="font-size: x-small;"><br /></span></span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz09hLCLsyVLTE8Sq_tWOXAHeadQDBf79WmEloTeKA6yPuBh8-B8vMo6s2T0oOg1APktc7uHQigBRktGR7Uqlf2_xQx9T8M7FlQoCpc57IFfd4j7LjYxHpUa338ckZSVnJkIQ58Qdw55Ag/s1600/IvoRinge.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz09hLCLsyVLTE8Sq_tWOXAHeadQDBf79WmEloTeKA6yPuBh8-B8vMo6s2T0oOg1APktc7uHQigBRktGR7Uqlf2_xQx9T8M7FlQoCpc57IFfd4j7LjYxHpUa338ckZSVnJkIQ58Qdw55Ag/s400/IvoRinge.jpg" width="341" /> </a></td><td style="text-align: center;"></td><td style="text-align: center;"></td><td style="text-align: center;"></td><td style="text-align: center;"></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;">IVO RINGE <i>Right on Top of the Skin, </i>2011 Acrylic on linen 28 x 24 inches</span></span></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-size: small;"><span style="font-family: Verdana, sans-serif;"> To see more work by Ivo Ringe, <a href="http://art-bros.com/product.php?id_product=28" target="_blank">click here</a>.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3MWnjiPpTdgxt5cRFrG8yLa8olcJmucnZUBHbUJRufYWet_jlnS3CTi0hYre1fXlbiJNIdeuxM-Q5dl2f8ebvnwWcIRUdsnpL7z1QLJ-Ue_2f3PUiivf9RjY2Uc9oZhv0NN6J88XTqCCw/s1600/le10129F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3MWnjiPpTdgxt5cRFrG8yLa8olcJmucnZUBHbUJRufYWet_jlnS3CTi0hYre1fXlbiJNIdeuxM-Q5dl2f8ebvnwWcIRUdsnpL7z1QLJ-Ue_2f3PUiivf9RjY2Uc9oZhv0NN6J88XTqCCw/s320/le10129F.jpg" width="229" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;">LORI ELLISON <i>Untitled,</i> 2012 Ink on paper 11 5/8 x 8 1/4</span></span></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-size: small;"><span style="font-family: Verdana, sans-serif;"> For more work by Lori Ellison, <a href="http://www.mckenziefineart.com/exhib/Ellison2012exhb.html" target="_blank">click here</a>.</span></span>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfpB6Og1JDM8Ho6ibhS4H5wFx-XhCw4Ed4rw3VDUlFodeDaLuSZoouzSYif-sqoD-cu5YDaV_KYgDgewFWBSTEZ_bIao5hCowhpBd22c6hwAyk4jMw38o0G_IzG8iiYeO1PqHHKxmQzMnB/s1600/rt10005F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfpB6Og1JDM8Ho6ibhS4H5wFx-XhCw4Ed4rw3VDUlFodeDaLuSZoouzSYif-sqoD-cu5YDaV_KYgDgewFWBSTEZ_bIao5hCowhpBd22c6hwAyk4jMw38o0G_IzG8iiYeO1PqHHKxmQzMnB/s320/rt10005F.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;">CATHRYN ARCOMANO <i>Mirea Series #33,</i> 1981 Oil on canvasette 10 3/4 x 11 3/4 inches</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5QwivOKrD9OjeZI_LZPD0_3xU4QwCPSrX7yZ4NkNFJgEZxODAltgu2_fg9o_1ha38JYBkHazwimCoxjjfYJaLh4aoCfa6NZdjBCTGuWr0uDvp3o62mOAxa2y14D3MXXRi2nIfoTiEEL8I/s1600/MarkSheinkman10011F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5QwivOKrD9OjeZI_LZPD0_3xU4QwCPSrX7yZ4NkNFJgEZxODAltgu2_fg9o_1ha38JYBkHazwimCoxjjfYJaLh4aoCfa6NZdjBCTGuWr0uDvp3o62mOAxa2y14D3MXXRi2nIfoTiEEL8I/s320/MarkSheinkman10011F.jpg" width="260" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;">MARK SHEINKMAN <i>Mercer, </i>2013 Oil, alkyd and graphite on paper 16 x 13 inches</span></span></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">For more by Mark Sheinkman, <a href="http://www.marksheinkman.com/artwork/drawings/new_drawings.html" target="_blank">click here</a>. </span></span><br />
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<span style="font-family: Verdana,sans-serif; font-size: small;">McKenzie Fine Art, 55 Orchard Street, NYC. The exhibit includes the work of 17 artists and is up through August 17. Photos from the gallery website.</span><br />
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Tamarhttp://www.blogger.com/profile/15820235952600662107noreply@blogger.com0