Analysis of Kerby Rosanes artworks

Result #1

Analysis of Kerby Rosanes artworks  takes the form of a retrospective, offering an overview of her output between 1965 and 1987. This event, curated by Carol S. Eliel and David Tompkins, included paintings, sculptures, photographs, drawings, and collages. The exhibitions title, The Golden Bough, is a reference to the painters book of poems published by the British-born artist, published by the Botanical Gardens in London and published by Vogue in 1987. Kerby Rosanes poetic writing is a hybrid of domestic poetics and political statement, drawing on a combination of art and activism, and the artists commitment to unmediated, noncommercial, noncommercial communication.For her first solo exhibition, called Artforum, in 1969, Kerby Rosane embarked on a process of elimination that soon culminated in the creation of a collection of paintings, as well as a series of collages and works on paper. Her work moved from the domestic to the political, and, more importantly, from the domestic to the political, art worlds. It becomes clear from the works on display, including the many images that accompanied the paintings, that the artist is deeply engaged with the question of art, its esthetics and political critique. Her collaboration with radical feminist artists such as Ella Hayworth and Art & Languages cofounder Niki de Saint Phalle (who was assassinated in 1970) and with numerous artists from the 60s counterculture, such as Lewis Hine and Joan Snyder, continues to generate work. In fact, the more closely she is associated with the movement, the more she is accused of being an artist for only half an hour a day. Kerby Rosane: Painting and Writing, 1970–1987 is now on view at the Chicago Cultural Center, the Los Angeles County Museum of Art, and the Guggenheim Museum of Art.William Wileys is a critic and curator of contemporary art, contributing editor of Artforum.

Result #2

Analysis of Kerby Rosanes artworks  seeks to facilitate an understanding of the ways in which his oeuvre reveals the ways in which he is, and has been, part of a larger social and political network. The work is drawn from a series of canvases which Rosano executed in the early 80s, following his purchase of a New York City house, the Liberty Marketplace, from a developer. Rosano used the technique of rapid scribbling to cover the borders of a canvas, creating a scratchy, overlapping surface which was then scraped off and reworked, and finally covered again, with white acrylic. The process of drawing on the paintings surfaces, and the combination of it with the process of painting, is a great metaphor for Rosanos artistic practice.The work was first shown in 1987 at the Knick Gallery, and was described in 1987 as a product of the simultaneous desire and determination of a young artist to make art that speaks to an audience with a wide range of ages and interests. It has been an interesting challenge, given the art worlds fascination with what one might call the postmodern. There are artists whose work seems like a decayed version of it. Rosano has maintained that the work is still new, and that its meaning is largely dependent upon its relationship to the larger social context in which it is seen. For Rosano, then, the experience of the work is not simply a means to an end, but rather an end in itself.This show included three paintings from 1987 and one from 1988. The former was a large-scale work consisting of three paintings on canvas, hung side by side and set at about eye level. The works were positioned in such a way that they were almost transparent. A large, white stencil-like line ran up the left half of the canvas, and down another, a smaller, black, wall-like form. The third painting, titled Service, was the most minimal in the show.

Result #3

The Open Letter, 1983–85, juxtaposes her drawings, photograph, and her essay with a photograph of herself and her teacher in the art school bathroom. By putting these objects together, Rosane also invites the viewer to contemplate the meanings of their juxtaposition. By inserting herself into the photo, Rosane points to the power of the image—its ability to hold a wide range of significances. The graphic elements of the drawing on a typewriter, for example, are framed by the drawing in a seemingly random way. In the text accompanying the exhibition, Rosane describes the precise way in which she used to visualize her drawings. The whole works title is the phrase I visualize what is on the wall. But there are also numerous references to what is not on the wall. For example, the image of a shoe on the wall is based on one in a photograph by a friend of Rosane. The shoe and the photograph are made of wood; Rosane has carved the wood in the shape of the photograph, and has painted it with the same sharp point of the photograph. The shadow of a hand is also based on a photograph by a friend of Rosane, and the shadow is a remnant of the shoe. In Rosanes drawings, the shadow is also a remnant of the drawing, and in this case, it is also a foreshadowing of the point of the photograph. In the image, the hand is also a remnant of the drawing. And so on.In a sense, the drawing, writing, and photography all function as a kind of exchange between the material world and the imaginary world of dreams and representations. The work of art is never pure self-expression, but rather an ongoing dialogue between the material world and the metaphorical world of dreams. In this dialogue, the person as the image of the thing, the thing as the image of the person, is transformed into an image of the thing itself.

Result #4

____________________________ by Linda D. Geiger and Catherine S. Masters, from The L.A. Times, June 30, 1986.

Result #5

Analysis of Kerby Rosanes artworks  - from paintings to watercolors to sculptures to photographs to installations—from sculpture to installation to film to sculpture to installation to performance—is a paean to the production of art and its celebration. The exhibition takes a well-trodden path through the history of art in the early 20th century. The artists chosen are mostly known for their work in abstraction and the natural environment, but there are other important points of connection: Rosanes was born in the 1950s, as if to point out that, as with many artists of her generation, the earlier part of the twentieth century was an era of crisis, as the postwar economy began to decline and nationalism began to take hold. These elements of her oeuvre can be seen to have converged in the art of the past decade, particularly in the field of photographic imagery, which she has been drawing on since the mid-1990s. Rosanes has always been interested in the representation of nature; in her hands, her landscapes, which feature herds of animals and the like, become a visual echo of the human presence. In several works from this series, she places a camera at the site of a slaughterhouse or a slaughterhouse at a slaughterhouse. The animals that appear in these pictures are made from photographs of various herds of animals. The animals appear in all their fleshy glory, and one is tempted to admire their endless vigilance and hard-looking, almost talismanic beauty. The photographers lens, however, is a prosthesis, a device that hides the fact that it is an artificial lens, a camera that, when it is used, produces a limited range of grays that simultaneously suggest the depth of the world and the camera. On the other hand, the repetition of the herd of animals also suggests a compulsion to repeat, to become the herd. But perhaps the art world, with its fixation on individuality and uniqueness, is a muddle when it comes to the word nature.