Grey Genevieve II

Grey Genevieve II

1994

oil on canvas

76 x 76 x 2 inches; 193.04 x 193.04 x 5.08 centimeters 

Note Towards a History of the Sky

Note Towards a History of the Sky

1987

oil on linen

38 x 38 x 1 inches; 96.52 x 96.52 x 2.54 centimeters 

Blasphemy

Blasphemy

1989

oil and vinyl on linen

45 x 45 x 2 inches; 114.3 x 114.3 x 5.08 centimeters

 

‘Blasphemy’ has the same number of letters in it as ‘beautiful’ and ‘brilliant.’  It has to do with the puritanical and generally philistine attitude, common in the art world as in the culture at large, that insists that if you’re beautiful you can’t also be brilliant.  It’s a function of the need to suppress the threat to seriousness that prettiness and frivolity pose, and that’s why the painting’s called Blasphemy.  I’d begun to write about the general topic at this time and some twelve years later it turned into a book.

Grey Genevieve, About 20 Years Later

Grey Genevieve, About 20 Years Later

2001

gouache on paper

30.5 x 23 inches; 77.5 x 58.4 centimeters 

They Had a Very Pleasant Evening

They Had a Very Pleasant Evening

2012

gouache on paper

30 x 12 inches; 76.2 x 30.48 centimeters 

 

The Pink Group began in 2001, and started with me thinking I should do something centered, as I had for years worked mostly with the format of a margin added on to a square: the frontal mostly filled with color, all the things done by drawing—repetition and non-repetition, order, proportion—kept on the side.  They were and mostly are pink, perhaps because pink is always a cloud as much or more than a form, while the vertical and symmetrical imply a figure or the space occupied by one.  Pink Desert and More Middle-Class Pleasure are among other works had moved me towards pink before with regard to this aspect of naturalistic color, and also movement and formlessness.

    Some of them are named after places, sometimes but not always the relationship between the color or atmosphere of the place named is quite direct but in other cases not.  For example, in the case of Budapester Strasse (2012) it is, the windows in the street all seem to echo Schinkel in a particularly compelling way;  while in the case of Paris (2005,) it isn’t.    

    To me at least, the Pink Group consists of elaborate works that are small, lots of optical space in spaces that are actually small.  Persian miniatures are always on my mind.  They usually contain or present a lot of action that you have to look at closely because miniatures are small.  One can’t only look at anything that small, one finds oneself looking into it, more quickly than is the case with a large work. I painted a couple of paintings the same size and putting one of them in a row with framed gouaches means that the images are all the same size but the gouaches’ frames make them each take up more space than a painting.  This also means one sees the gouaches (of course) through glass but the paintings not, which also comes in to what it is to see them together.  And when they are hung together it becomes clear how one looks into a small work on paper more readily than at a painting of the same size.  It has something to do with looking at anything on painting being related to reading, it’s almost easy to forget what kind of paper it’s on while looking at it, while a painting is an object and one cannot look into it more than one looks at it.  

    None of the Pink Group has led to a larger work, I think this means that they are wholly resolved as what they are.

Pink Square

Pink Square

2013-14

oil on linen

50.5 x 50.5 x 1.5 inches; 128.27 x 128.27 x 2.54 centimeters

North

North

2016

oil on linen

44 x 32.5 x 1.5 inches; 111.76 x 82.55 x 3.81

1818 Glendale Boulevard

1818 Glendale Boulevard

2016

oil on linen

29.5 x 29.5 inches; 74.9 x 82.6 centimeters 

Grid

Grid

2012

gouache on paper

30 x 16 inches; 76.2 x 40.6 centimeters 

Untitled

Untitled

1981

42 x 28 inches; 106.7 x 71.1 centimeters 

Strasbourg

Strasbourg

2011

gouache on paper

30 x 9 inches; 76.2 x 22.9 centimeters 

 

The Pink Group began in 2001, and started with me thinking I should do something centered, as I had for years worked mostly with the format of a margin added on to a square: the frontal mostly filled with color, all the things done by drawing—repetition and non-repetition, order, proportion—kept on the side.  They were and mostly are pink, perhaps because pink is always a cloud as much or more than a form, while the vertical and symmetrical imply a figure or the space occupied by one.  Pink Desert and More Middle-Class Pleasure are among other works had moved me towards pink before with regard to this aspect of naturalistic color, and also movement and formlessness.

    Some of them are named after places, sometimes but not always the relationship between the color or atmosphere of the place named is quite direct but in other cases not.  For example, in the case of Budapester Strasse (2012) it is, the windows in the street all seem to echo Schinkel in a particularly compelling way;  while in the case of Paris (2005,) it isn’t.    

    To me at least, the Pink Group consists of elaborate works that are small, lots of optical space in spaces that are actually small.  Persian miniatures are always on my mind.  They usually contain or present a lot of action that you have to look at closely because miniatures are small.  One can’t only look at anything that small, one finds oneself looking into it, more quickly than is the case with a large work. I painted a couple of paintings the same size and putting one of them in a row with framed gouaches means that the images are all the same size but the gouaches’ frames make them each take up more space than a painting.  This also means one sees the gouaches (of course) through glass but the paintings not, which also comes in to what it is to see them together.  And when they are hung together it becomes clear how one looks into a small work on paper more readily than at a painting of the same size.  It has something to do with looking at anything on painting being related to reading, it’s almost easy to forget what kind of paper it’s on while looking at it, while a painting is an object and one cannot look into it more than one looks at it.  

    None of the Pink Group has led to a larger work, I think this means that they are wholly resolved as what they are.