I just read the article and found it botched beyond recognition:In any case the link has expired.
Here is the original:
Artists left to right:Parks,Mugar,Travers and Pollaro(Susan left earlier) |
It is a world that is put together by waves of light, broken
down into a spectrum of colors and transformed by the complex physiology of the
eye into the image we see in our mind’s eye that we call reality. It is also a
world of laws and principles and mathematical formulas. If we look out our
window and see our garden it is not just a beautiful landscape with trees and
shrubs but through science we have knowledge of how a tree grows, how it
absorbs energy from the sun, and adjusts to the seasons or climate change.
Science has penetrated so deeply into the goings on of the body that there is
no longer just one doctor to take care of you but a myriad of specialties for
each organ and function of the body. Let’s imagine for a minute the effect of
science on an artist like Matisse. The show of his abstract cut-outs that he
did at the end of his life just closed at the Museum of Modern Art, and was one
of the best attended shows in the history of the Museum. At the Armory show in
New York in 1913, that showcased the avant-garde of Europe of which Matisse was
a part, there were protests over what was perceived as the cold and inhuman nature
of that kind of work. A little more than a hundred years later abstraction is sufficiently
assimilated into the culture that crowds no longer express horror at its
perceived crudeness but have come to praise its beauty. All that Matisse did in
his work was to acknowledge the role of color in our perception of reality and push
it to the foreground of his depiction of the world. He found that color when
used in isolated patches of warm and cool can be used to rebuild reality on
another platform. He understood that eyes use receptors that respond to color
as well as light and dark. Until the Impressionists picked up on what the
scientists had already studied in the physiology of the eye, art tended to use
color in a literal sense of say the color of a dress being green or red. But
when you realize that red and green are an optical construct of the eye, it
opens up a whole new energized world that ultimately leads to abstraction.
The artists in this show are probably the fourth generation
of abstractionists since the turn of the last century. The general direction of
abstraction since Matisse has tended toward simpler and less empathetic shapes
that ended in a movement called Minimalism, which dominated the art scene in
the Sixties and Seventies. Many of the artists in this show studied with
artists who were Minimalists or proposed in their teaching the use of austere
and simple shapes like a square within a square or just a canvas of one color. We
are all in our own way either wish to break out of Minimalism stylistically or
add the human psychology that Minimalism ignored. In the work of Paul Pollaro it
is the darkness and power of the earth not lit by the light of the Sun. Jason
Travers with his multi-paneled paintings is the most beholden to Minimalism of
all the artists in this show. On at least one panel within each painting there
is one that is a romantic atmospheric landscape. He pointedly seems to say: Is
flatness all there is to the goal of painting since Matisse. Susan Carr’s work
comes out of the tradition of Abstract Expressionism that preceded Minimalism. There
are none of the smooth flat planes typical of abstract art, just thick paint
that is heavily reworked that seemingly comes from a deep source like molten
lava pouring out of a volcano. My work reintroduces gestural marks that are
three dimensional as a reference to the three dimensional language of
perception that had had been part of representational painting prior to
abstraction. The colors play with the notion that color can be appetitive as
well as just optical and evokes flavors. Addison Parks uses the push and pull
of Matisse’s color language merged with the iconic shapes of nature to express
the vitality of organic form. His interests in the origin of abstraction in
Matisse remind me of the work of Bram Van Velde the famous Dutch painter
admired by Samuel Beckett.
As Art moves forward in its explorations it does not abandon
earlier movements but, as it moves toward ever broadening horizons, it circles
back to relive what was left behind. That is the strategy of the artists in
this show. We create a sort of hybrid art by taking the language of abstraction
and infusing it with the emotions of real life associated with realism.
I
No comments:
Post a Comment