Comments for Drawn/Taped/Burned: Abstraction on Paper

Comment on Interview with Wynn Kramarsky by Gerrit Verstraete

Gerrit Verstraete — Mon, 22 Aug 2011 23:10:52 +0000

From Gabriola Island, BC, Canada, on the Pacific northwest coast.
Funny how some things have escaped me, even though my drawings are in Kramarsky’s collection and I have been in touch with him over the years. Drawn/Taped/Burned is an excellent discourse on the fine art of drawing, especially in its “Kramarsky trademark” conceptual abstract form. Put me on whatver list you may have and keep in touch …. for the cause …. drawing.
Sincerely
Gerrit Verstraete

Comment on Carter Foster on Jasper Johns by Emily Gardner

Emily Gardner — Sun, 08 May 2011 22:24:42 +0000

The work I looked at was a drawing by Jasper Johns.  The medium he used was graphite wash and graphite on paper 8 x 13 inches. At first glance a drawing like this seems to have many constraints. A simple rectangular shape, and a structure to hold things in place. There is no color, only modulations of grey and black. The numbers on the work are interesting only because they are something so ordinary but placed here, it slows the viewer down to look and pay attention. It invites the viewer to count. The image is something so ordinary, but the artist used a variety of pressure and tone to create a precious medium. It is a surface to be delicately appreciated—evidence of the artist’s attention and hand is abundant. Open loose strokes, tight edges remain crisp and defined, themselves helping to define the numbers we see. In short, within the simplest of visual fields and most familiar of signs, the artist’s complicated attentions make us delight in this very contrast.

Comment on Karen Schiff on Sol LeWitt by Noah

Noah — Sun, 08 May 2011 16:24:27 +0000

The impossibility of existing in real space as forms and the drawing of color from digital printing provides a great comparison between the potential to formulate this form on paper and via the computer. The complexity of the forms may now lie in the avenues for evaluation that resides in a digital formatting of the work.

Comment on Nicole Fein on Bruce Conner by Savannah Niles

Savannah Niles — Sat, 07 May 2011 15:10:17 +0000

Sir David Brewster’s Toy
Richard Wilbur
[The Atlantic -- 2002]

In this tube you see
At the far end a strew of
Colored-glass debris–

Which, however, grows
Upon reflection to an
Intricate pied rose,

Flushed with sun, that might,
Set in some cathedral’s wall,
Paraphrase the light.

Now, at the least shake,
The many colors jumble
And abruptly make

The rose rearrange,
Adding to form and splendor
The release of change.

Rattle it afresh
And see its coruscating
Flinders quickly mesh,

Fashioning once more
A fine sixfold gaudiness
Never seen before.

Many prophets claim
That Heaven’s joys, though endless,
Are not twice the same;

This kaleidoscope
Can, in that connection, give
Exercise in hope.

Comment on Karen Schiff on Stefana McClure by Andy

Andy — Fri, 06 May 2011 18:53:04 +0000

I responded to McClure’s representation of doubt. I feel the monochromatism and simple pattern fading through the gradient truly conveys a sense of something symbolic and infinite and that is difficult to truly grasp.

Comment on Alexis Evelyn Lowry on John Cage by Kate Esbenshade

Kate Esbenshade — Fri, 06 May 2011 15:01:03 +0000

A work of art is the unique result of a unique temperament.
-Oscar Wilde

Comment on Frank Badur on Sara Sosnowy by Ivonne balli

Ivonne balli — Tue, 03 May 2011 20:23:23 +0000

I think the colors go wonderfully together. The gold circles cluster most in the middle, very subtly, but catching the eye. This got my attention mostly because it was pleasing to my eye, very easy to look at. I’ve made work like this and I know the effort in tracing every single circle into the page, and keeping them close together like that gives it a unifying effect.

Comment on Nicole Fein on Bruce Conner by Katherine Peacock

Katherine Peacock — Tue, 03 May 2011 13:44:11 +0000

This is my favorite piece in the whole show. The design is beautiful and intricate. I love looking at every detail.

Comment on Terry Winters on Mel Bochner by Nicholas Clark

Nicholas Clark — Sun, 01 May 2011 14:42:48 +0000

intriguing work! I could easily get lost in this while exploring its complexity.

Comment on Tod Lippy on Mary McDonnell by art stringer

art stringer — Wed, 20 Apr 2011 17:45:55 +0000

The eye can move with the lines, a lateral flow, or vertically, a ladder-al effect. Both, naturally. The piece is process and object, a happy paradox. Thanks, Mary.