Woman painter uses rhythmic line quality
Woman painter uses rhythmic line quality to produce a feeling of movement which is at once tactile and incorporeal. In these works, when one looks at the form, it is hard to tell where the line starts and ends, and the fluidity of line is never resolved into a single line. Rather, the shape of the line is just a field of colors, a whole surface, and a question as to whether or not a particular shape is actually present in the work. Sometimes the shape is suggested by the pattern of the number or number of the line, or by the shape of the shape of the line itself, and yet again by the shape of the colored surface itself. In another work the shape of the rectangle is suggested by the shape of the area on the canvas, but the rectangle of the canvas is painted, so that the shape of the rectangle of the canvas becomes the shape of the rectangle of the canvas. In this painting the shapes are both reversed and interlocked so as to create a sense of wholeness and symmetry, and in the end, the viewer can never be sure which is which. It is as if the shapes had become interchangeable, and were merely meaningless names to the eye.The color in these paintings is also constantly shifting, sometimes irregular and opaque, sometimes translucent and opaque, sometimes opaque and translucent. Sometimes the shift is one of a subtle pitch from one color to the next, as in the pink/orange Work No. 2, 1972, or the purple/blue Work No. 2, 1972, in which the color changes from pink to blue, and from one layer to the next, while at other times it is an abrupt, abrupt, and off-color shift of color. The shift is always an awareness of the very gradualness of the change, and of the viewers awareness of this gradualness as well as of the viewers own awareness of this awareness.
to depict an intimate but disparate world. The sense of immediacy is augmented by the strength of character in her work, the conviction of her vision. This is not the case with the members of the Foundation who make a point of being peripheral to the artist, who can only be described as an artist-in-residence. In this respect, they are different from the artist-in-residence, and the fact that they do not participate in the same way as the artist-in-residence is not as important as the fact that they are not associated with the same group.
Woman painter uses rhythmic line quality in her compositions, but it is a way to make her work more expressive. Her focus on the hand is much stronger. In contrast, the loose, gestural line that seemed the most arbitrary of line choices in a number of the large works has an obvious hand-crafted quality in the small works. That hand-wrought quality seems to be a more conscious quality, more crucial to her vision than the random line.The high point of the show was the large wall-mounted piece, a white steel chair. Its eight-foot high, and the top of the seat is filled with ice. The ice, which looks like it could be made of stone, is about as fresh as an ice-covered urn. A rope leads from the top to the seat on the chair. The rope seems to be holding something in the ice. It doesnt seem to be something present, and the ice is shattered. But this isnt ice. It looks like a lump of ice. The piece is titled Mindless, and is composed of a single piece of white steel, in which is a stack of black rubber bands. Each rubber band is pressed to the wall in a different position, so that they are in a state of tension with the ice. The ice is broken, but the rubber bands still hold, and so the scene seems very real.The strength of the piece is that it is complete and complete. It is a complete work, and this is the strength of work that is not merely conceptual. Its strength is that it is complete. It is a complete statement, and it makes a point that is particularly important to many of the artists in this show, especially when they work with subcultural references. It is a statement that is political, but political is not the word here. Rather, it is a statement that makes a political point. It is a statement that is self-consciously made.
to expand her compositions, with a narrative logic that works both as a formal device and as a statement about the subjects, objects, and images of her artistic process. Like a video game, the pictures seem not only to expand and contract, but also to affect an environment. The painterly gesture has a profound effect on the viewers perception of space and time, and on her understanding of the painting as an ongoing process of discursive interpretation. The artists single-minded attitude, her call to paint, her insistence on art as a way of attaining the essential identity of being and revealing the world, serve as a reminder that painting is about more than one-dimensional art.
Woman painter uses rhythmic line quality in the manner of Edward Hopper and Diane Arbus, but her compositions, with their very literal and somewhat intrusive structuralism, remain within the realm of abstraction. Both the symmetrical, structural arrangement of her furniture and the fact that the floor plan of her apartment consists of two adjacent rooms, divided by a doorway, indicate that she is deeply involved with the space around her. Her formality, her careful balance, and her desire to present her objects in a highly intelligible and understandable way are all evidence of her skill at conceiving the correct formal and conceptual relations. Most of the furniture is rendered with the same care that the artists in Hoppers and Arbus usually display; she has painstakingly manipulated its surface in the manner of the woodworking process. The furniture, in particular, has an uneven, wood-grain pattern that recalls the traditional, craft-made weavings of Chinese carpets, and it is modeled in the manner of Duchamps Large Glass, 1931, in which the glass is constructed through the use of a series of transparent plastic threads. Some of the chairs, some of the tables, and a large number of the lamps and mirrors all feature the same basic structure; they are mounted on the floor like so many wooden scaffolding. These objects are put together with care and precision; they seem to function as stand-ins for the artist, or stand-ins for her own works of art. In these objects, the sculptural components are in fact integral with the built-in forms.The main element of the installation was a series of mirrors mounted on the walls of the gallery. These mirrors were used by the artist to reflect her own works of art onto the walls. The mirrors were a visual metaphor for her artistic identity; they were also mirrors of the viewers self-image, and thus self-reflecting. The artist mirrors herself, creating a double self-image.