Category Archives: Text

Ryman at Dia Chelsea

'Arrow,' 1976, by Robert Ryman

The use of white focuses the viewer on the tactile — on the paint itself. It is tempting to see the subject of these paintings as the very process of painting itself.
But this simplistic reading overlooks a great deal. There always seems to be a point at which the meaning of a work of art is insoluble in language.”

from Ill said Ill seen: a meditation on Robert Ryman and Samuel Beckett – now online at The Finch – read more here

above: ‘Arrow,’ 1976, by Robert Ryman

In “The Finch”

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I like a painting that does something, like a machine does something: you turn it on and it functions —

The click of the shutter, the click of the cliché, but lets come back to that later…

I have noticed that not infrequently, when I find myself in front of a painting I have been introduced to through an invitation or an article online; that the painting in question does not give back anything more in person than the digital image I’d previously seen. It yields nothing new, no new read, no additional meaning. On occasion it may yield something less than its copy: almost seeming to function purely as a painted iteration of the digital image. The digital privileges the retinal.  read the rest of the article here —

At the Watson Library

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M. E. Chevreul, plates 5-7 from De la loi du contraste simultané des couleurs … [The Law of Simultaneous Contrast of Colors] (Paris: Chez Pitois-Levrault, 1839). Watson Library Special Collections.

From The Library as Incubator Project:

Jared Ash at the Special Collections of the Watson Library:

“I had a strong feeling that Watson had a wealth of titles that Jen would find interesting, inspiring, and informative, and encouraged her to come up for a visit. I am thrilled that my hunch was correct, and that material that Jen found at Watson was in fact helpful in creating her new book, 10 White Lies & Poem of the End (New York: Jen Mazza, 2015).”  read on —

10 White Lies

10 White Lies and Poem of the End: proof pages and printed and bound

10 White Lies and Poem of the End: proof pages and printed and bound

white lie (n.)

an often trivial, diplomatic or well-intentioned untruth

a minor or unimportant lie, especially one uttered in the interests of tact or politeness

 

10 images from various web sources present 10 dramatically different takes on the original. All are identified as Malevich’s White on White, but few succeed well in their interpretation. Continue reading