Robert Ryman: Used Paint Suzanne P. Hudson

ISBN: 9780262012805

Published:

Hardcover

315 pages


Description

Robert Ryman: Used Paint  by  Suzanne P. Hudson

Robert Ryman: Used Paint by Suzanne P. Hudson
| Hardcover | PDF, EPUB, FB2, DjVu, audiobook, mp3, ZIP | 315 pages | ISBN: 9780262012805 | 3.74 Mb

In this first book-length study of Robert Ryman, Suzanne Hudson traces the artists production from his first paintings in the early 1950s, many of which have never been exhibited or reproduced, to his recent gallery shows. Rymans largelyMoreIn this first book-length study of Robert Ryman, Suzanne Hudson traces the artists production from his first paintings in the early 1950s, many of which have never been exhibited or reproduced, to his recent gallery shows.

Rymans largely white-on-white paintings represent his careful working over of paintings conventions at their most radically reduced. Through close readings of the work, Hudson casts Ryman as a painter for whom painting was conducted as a continuous personal investigation. Rymans method--an act of learning by doing--as well as his conception of painting as used paint sets him apart from second-generation abstract expressionists, minimalists, or conceptualists.Ryman (born in 1930) is a self-taught artist who began to paint in earnest while working as a guard at the Museum of Modern Art in New York in the 1950s.

Hudson argues that Rymans approach to painting developed from quotidian contact with the story of modern painting as assembled by MoMA director and curator Alfred Barr and rendered widely accessible by director of the education department Victor DAmico and colleagues.

Rymans introduction to artistic practice within the (white) walls of MoMA, Hudson contends, was shaped by an institutional ethos of experiential learning. (Others who worked at the MoMA during these years include Lucy Lippard, who married Ryman in 1961- Dan Flavin, another guard- and Sol LeWitt, a desk assistant.)Hudsons chapters--Primer, Paint, Support, Edge, and Wall, named after the most basic elements of the artists work--eloquently explore Rymans ongoing experiment in what makes a painting a painting.

Rymans work, she writes, tests the mediums material and conceptual possibilities. It signals neither the end of painting nor guarantees its continued longevity but keeps the prospect of painting an open question, answerable only through the production of new paintings.



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