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Laura Shechter: Recent Oils, Watercolors, and Drawings
University of Richmond Museums
Laura Shechter: Recent Oils, Watercolors, and Drawings
September 6 to October 6, 1991
Marsh Art Gallery
Introduction
For painter Laura Shechter the subject of still life is one that is charged with deep significance. Since the 1970s she has explored the manifold complexities of form and idea it necessarily involves for her with considerable success. As one of this country's leading interpreters of still life's revelatory aspects, Shechter has specialized in bringing out the subject's rich potentials for meditative and symbolic statement with a refreshing directness that is distinctively American in the emphasis on the special illuminating role played by the element of light. With a nod in the direction of the American tradition of trompe l'oeil still life made famous by the likes of Harnett and Peto, Shechter has developed a unique style and approach for conveying what she finds to be the truth about the perceptual experience of things.
While grounded in appearance, her method is also conceptually based, with still life conceived as a kind of mediating dimension between what might be called the forces of objectivity and subjectivity. At first glance paintings such as Still Life With a Light Blue Marble, 1988; Red Hearts and Red Flowers, 1989; The Emerald Fish, I 990; and Still Life on a Blue Shawl, 1991, seem to be "picture perfect". That is, the tendency is to see these compositions as true, the precise rendering as a copy of reality, a facsimile. And yet the more time spent perusing the individual items and arrangements, the greater the awareness becomes of the determining hand the artist has taken in each of these works. From the initial setup to the subtle simplification of form by the elimination of certain details and heightening of others, Shechter is in full control. In other words, far from offering any photographic-like imitation of reality, she is calling all the shots. What she is providing is a sophisticated reconstitution of reality in terms of how form is defined by a moment of light.
Through such devices as the use of shallow space and narrow horizontal support, Shechter lays in a structure with an integrity about it that allows it to serve in planar terms as a dynamic foil to the things displayed on it. The stark frontality, the perspectival disposition both of table or shelf and objects, these contribute to the strong sense of organization, of the need to confer order summed up by the sayings "Things in their place", "A place for things" that is an important part of the pleasure of viewing these works.
As for the nature of the things Shechter has chosen to render, they are decidedly of the domestic and personal variety, article indicative of the intimate side of life. The tablecloths and objects like the Navaho bowl are reflective of the artist's growing concern with decoration and the special cultural meaning carried by certain objects in particular items designated by the term trophies.
In the paintings, Shechter' mastery of the luminous and tactile properties of oil pigment makes for surfaces with an allover evenness that spreads an aura of harmony across the image. In essence, what this does is to soften any hardness implicit in the clearly rendered details and shapes. In the meticulously executed black and white drawings showing Shechter's peerless draftsmanship, tonal relationships serve the same ends. In both the paintings and watercolors color functions emotively to trigger associations with the composition.
For example, perhaps the distinctive shade of blue in Still Life on a Blue Shawl will bring back memories of someone who wore such a piece. Or the shape of the pitcher in Still Life With a Yellow Milk Pitcher will invite recollections of a breakfast from long ago.
In focusing on optical/visual sensations, on the look of things and the looking that goes on at them whether the latter is through some three-point perspective system or through the special screening device that is the mind's eye, Laura Shechter demonstrates how well suited a subject still life is for taking stock of the power of sight.
Ronny H. Cohen, Ph.D.
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Ray Ciarrochi: Landscapes 1978-91
University of Richmond Museums
Ray Ciarrochi: Landscapes 1978-91
November 15 to December 15, 1991
Marsh Art Gallery, University of Richmond Museums
Introduction
While apparently showing us a particular place, Ray Ciarrochi's landscapes are more about the exquisite moment of being in that place. His landscapes are at once aesthetic and metaphysical, achieving a unity of viewing nature with the transcendent power of that experience. His light, color, and paint carry us into a reflective mood where nature is calm and triumphant and we stand in harmony with our environment.
This exhibition covers the artist's involvement with the landscape over a span of thirteen years, beginning with a painting completed in 1978 and ending with a work done just a few short months ago. Rather than conspicuous changes over the years, we see in this selection a slow and meaningful evolvement of themes and variations of the landscape as the artist continues to develop his oeuvre. This consuming interaction between the artist and the landscape is the thread that unifies these images into a singular encounter with nature.
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Voyaging: William Bennett and Elizabeth Schoyer
University of Richmond Museums
Voyaging: William Bennett and Elizabeth Schoyer
February 14 to March 07, 1991
Marsh Art Gallery
Introduction
For both William Bennett, sculptor, and Elizabeth Schoyer, painter, art is a voyaging: invoking, acknowledging, celebrating the forces and mysteries of life's passages.
Bennett builds up, with stone, glass, copper, lights, and wood, exquisitely crafted monumental forms: The Voyage, The Boat over Ocean over Ocean, Stigmata, Bed of Dreams, Belly Scepter among them. The titles signal the theme of quest, while axial forms draw the viewing into ritual alignment. One come to Bed of Dreams as an altar; Stigmata, part anchor and part sextant, establishes an axis mundi; the steps of Picasso's Cabana, a wall sculpture, invite, with Duchampian allure, further visual penetration along an extended horizontal axis.
This movement is countered, in another wall sculpture, in the swelling protuberant form of the pendular Belly Scepter. Practicing a continuous alchemy with his materials, heavy stone, fiery copper, watery glass, Bennett uses shifting oppositions within axis, scale, weight, and elemental sensation to effect transformation from piece to piece. Even as he pursues an ever more vital conjunctio oppositorum, witness The Birth of Miranda, he holds opposites in mysterious tension, exemplified in simultaneous sensations of resonant architecture and rippling voyage in Boat over Ocean over Ocean.
Schoyer's paintings and large-scale pastels are animated with a stream of energy that is a natural expression of felt inner states. Within this stream a striking stylistic shift occurs, starting with Miranda's Tempest in 1989, a conversation, if you will, of organic into architectonic expression. The earlier body of works evokes our empathy for the human body and the larger elemental forces that act on it and course through it: the earth-bound attendant female in The Vessel, the water storming around the devil and the rescued male in The Rescue, the cosmic fire illuminating the female figure in Waiting for the Comet. The baroque energies of these scenes, rather than releasing into deep illusionistic space, billow, swirl, and explode on the pictorial surface; brushstrokes are at once magnetized by and carriers of elemental force.
In her more recent work, sprays of painterly brushstrokes tighten into lines describing pullet wires, wheels, planks. She removes the figure, and locates dramatic tension within irrational architectural structures, presented under sometimes ominously aglow skies. In these structures movement, ever present in her work, is proposed, but subverted. In Insincere Conversations it is contradicted by disjunctive shifts in scale between the tree with root ball and the walkway onto which it is being transferred; in Space between Time by irrational alignments between rotating, sliding, and bridging elements. Thus her earlier natural dramas give way to ambitious constructions haunted by ambiguous technology.
The voyaging of Bennet and Schoyer is more than that of two individuals; it is that of a couple. Their child Miranda was born in 1988. He bears witness to this birth in Birth of Miranda; she addresses its repercussions in Miranda's Tempest. Indeed, much of the mystery of their art comes from the process of giving birth. To be allowed to glimpse, and participate in, their shared voyaging is a rare privilege.
Elizabeth Langhorne-Reeve
Assistant Professor of Art, University of Richmond
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Francis Cunningham: Painting and Drawing
University of Richmond Museums
Francis Cunningham: Painting and Drawing
March 14 to April 5, 1989
Marsh Art Gallery
Introduction
Realism is an attitude toward life that affirms the beauty and significance of the visible world. Realism starts outside with the surfaces of things and travels inward to their meaning. Everything in this process has to do with selection. What has the object told a particular artist about itself, about its relationship to other objects and to the surrounding space?
In life one takes in things at a glance, but the artist looks at an object for hours, weeks, months, even years. Premier coup painting is done in one sitting. It is comparable to haiku; it takes one aspect of nature, summarizes it and is done. Sometimes a landscape premier coup will call for the closest, most minute aspects of drawing and composition; sometimes only for the posture of a few large shapes. Sometimes the subject is instantly recognizable; sometimes, as in mossy places in deep woods, it is not.
Nature presents a variety of shapes for the artist to select, infinitely surprising and unexpected. Among them are landscape and still life objects which share many qualities of the human nude. Trees and rocks, gourds or a scythe--as with the nude--consist of shapes made up of arcs, angles and areas of color-value on the flat surface of the canvas. These shapes can be made to communicate properties of volume, weight, space, depth and movement. When this happens, the objects represented are no longer flat symbols of the visible world. One can feel their heft, their springiness or their repose. One is drawn outside oneself into experiencing the objects, and this shared vision unites the artist and his audience.
I regard the human nude as the most beautiful, various and fascinating instrument of expression. Among all the forms in nature we can identify most readily with the nude for it is us, our limbs, our movement, our energy.
Objects, and the nude, have a story to tell. Their stories are more basic than those of descriptive reporting, prose narration or the sung stories of opera. Their stories are pre-mythic, for the objects speak of themselves, free from the associations of other people, other things. Their meaning is determined by you, for you are the storyteller.
It seems a miracle so much can happen on the flat surface of the canvas. But this is only a shadow of the miracle of the forms as they exist in nature, or the significance you may bring to them out of your own life experience.
Francis Cunningham
January 1989
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George Tooker: Painting and Working Drawings 1947-1988
University of Richmond Museums
George Tooker: Painting and Working Drawings 1947-1988
September 6 to September 27, 1989
Marsh Art Gallery
Introduction
Paintings such as Subway, 1950, and Ward, 1970-71, are unforgettable images of the numbing isolation and anonymity that George Tooker finds in our secular bureaucratic society. What lies behind these compelling images? The larger context of private and public themes offers us insight into Tooker's achievement. I would like to propose that at least a part of this achievement lies in his simultaneous use and dismissal of the traditional, that is Renaissance-based, perspective construction of pictorial space.
While studying at the Art Students League in 1943-45, Tooker absorbed the American revival of Renaissance techniques of draughtsmanship and composition emphasized at the League. The expectation that we as spectators bring to an artist's use of one-point perspective is that it generate the illusion of a spatially unified and coherent world.
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The Harnett Collection of American Painting
University of Richmond Museums
The Harnett Collection of American Painting
January 10 to January 26, 1989
Marsh Art Gallery
Introduction
Joel Harnett, a 1945 graduate of the University of Richmond. discovered his interest in art when he met his wife, Lila. She had studied painting at the Art Students League in New York City. As a young couple they shared a love of art and of the collecting of art. Today with great generosity they share their collection, the fruit of some thirty years of intelligent and loving discrimination, with Joel's alma mater.
Both diversity and coherence, in addition to a striking level of quality, characterize the Harnett collection. Having to limit themselves in some fashion, they decided early on to collect only American artists. Their preference has been for art with a referential content and what Lila Harnett describes as a "nourishing" substance. More specifically, they have sought out artists with an individual, even singular vision, prominent among whom are Charles Burchfield, Reginald Marsh, Edward Hopper and George Tooker. This criterion makes for diversity: the imaginative "Gothic" landscapes of Burchfield. the acutely observed urban bustle of Marsh, the lonely light-filled spaces of Hopper, the quiet intense psychological dramas of Tooker. The depth in which they collect the work of these men lends their collection a satisfying coherence, even as they continue their fascination with singular vision in individual works by artists of a younger generation, such as Pearlstein, Beal and Birmelin.
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Mark Rhodes/Ephraim Rubenstein: Sculpture, Painting, and Drawing
University of Richmond Museums
Mark Rhodes/Ephraim Rubenstein: Sculpture, Painting, and Drawing
November 29 to December 18, 1988
Marsh Art Gallery
Introduction
The art of Ephraim Rubenstein and Mark Rhodes is art about the human figure, born out of personal experience and nourished by the great tradition of the figure in western culture. Indeed, the persistence of the human form in art from prehistoric times into the 20th Century, demonstrates not only the infinite variety of interpretations and expressions possible through the body, but our consistent need for self-realization and re-creation through the figure. The particular pieces in this show convey a remarkable cumulative visual and technical force. They are manifestations of a process of private and technical concentration which exert a compelling strength and beauty.
Particularly impressive is their treatment of the nude, one of the most enduring of all subjects in western art. Whether inspired by historical masterpiece, the model, or the artist's wife (as in several of Rubenstein's works), the nude can be a source for the study of form, a meditation on the nature of art, a demonstration of love of the anatomical truth of the body, or an expression of a particular emotional or psychological state. On a personal level, the nude can be a celebration of love and intimate personal affection, or of the beauty and natural fecundity of the body relative to the hope and joy of progeny.
In the art of Ephraim Rubenstein, there are a variety of personal insights expressed. On a trip to Italy in 1982, the Rubensteins were especially drawn to works by the Renaissance masters Piero della Francesca, Fra Angelico and Andrea Mantegna. These painters provided Rubenstein with the syntax for the working out of ideas of immense personal value. He was able to abstract their syntax, while not bearing their historical or philosophical carriage. One can make many connections between historical masterpieces and Rubenstein 's work. Fra Angelico's Madonna (Annunciation 1438-45, Monastery of S. Marco, Florence) alludes to 'birth,' 'parenthood,' 'responsibility,' 'nuturing ' and 'growth ;' the ostrich egg that hangs so conspiciously above the Madonna's head in Piero della Francesca's Madonna and Child with Saints (1472- 74, Brera Gallery, Milan) alludes to the miraculous processes of growth and regeneration, but also to the risks a mother must take in bearing children. All of these ideas are present in Rubenstein's painting, Annunciation, 1984, which was inspired by the birth of their first daughter, Amelia. When looking at Rubenstein's Standing Male Nude 1982, one cannot help thinking of Mantegna's St. Sebastian (c. 1455- 60). It alludes not only to a specific anatomy and contrapposto, but also to space, time, distance, disease, and decay, those ideas and realities that inevitably lie at the opposite end of the cycle that begins with birth and regeneration. But whatever the degree of Rubenstein's response to this larger tradition, he remains a decidely 20th Century artist. Ephraim Rubenstein is a painter in the American tradition, and as such he has embraced its central currents of realism and the contemplation of the close-at-hand. He paints both the figure and the landscape in these terms. His art bears its own witness to our age's introspection and even isolation in those private spaces that people so desperately need in the late 20th Century. His landscapes tend to be places of calm, quiet reflection, while many of his figures are seen alone, stilled in meditation and thought. His art is a rich amalgam of several primary types of subjects long treated in the development of American art -- the portrait, nude, landscape and still life.
Mark Rhodes' wonderfully sculpted figures are like poetry -- abstract, with nuances that connect to various levels of meaning. But in place of words, Rhodes employs the language of living bodies. Rhodes expresses in his work the joy of his craft, of modeling forms. and of observing and creating beautifully made surfaces that at once can express body and spirit. His craft is at the service of his artistic vision. This vision is a distillation of important historical mentors like the Egyptian and Greek ancients, Michelangelo and Rodin, and the repeated sight of the model and the emerging sculpture. His art is a process of self-discovery, where, by working through the medium, art becomes a means of self-revelation. The concerns are not so much with the associative or suggestive ideas that lie outside and beyond the work, but with the figure itself as a vehicle for discovering meaning in the form. In these works the subject matter is sculpture. Thus, this is pure art in the sense that it is the shaping of the form from the raw material that becomes the "subject" of the work. Rhodes presents us with a language of form which sculptors have understood for centuries. In looking at these works we are reminded of what might be Rhodes' subtle paraphrasing of a rich variety of past and present mentors. In his Gray Statuette, for instance, one thinks of the Praxitelean esthetic of the human nude, slender in proportions with emphasis on exquisite modeling that reproduces the tones of resilient flesh as seen in the famous Hellenistic copy from 100 B.C., Aphrodite of Cyrene. Rhodes' work, however, is not in any sense - 'Neo-Greek' --there are no mathematical formulas for proportion, and there is no idealization by improving on the physique of the model. These works do not mimic rules or counterfeit outdated attitudes. Rhodes' Seated One Leg (Bronze, 1984) reminds us of certain qualities found in the work of the 20th Century sculptor Wilheim Lehmbruck: lean attenuation, subtle angularity of the sparce frame, movements of the body that are instinctive and credible or even touching. The emphasis in these works is not so much on what the figure does, but what the artist does, what he expresses through his language of form.
In Rhodes' work, we are aware of the intervention of art and of the imposition of intelligence, feeling and sensibility on nature and matter. And, like Rubenstein, Rhodes is an avowedly native artist of his own time. Like many sculptors in this century be chooses to make art from private values and feelings, making art itself the subject of his art. Ultimately, Rhodes' art is, in the 20th Century, a heroic effort of the Pygmalion dream of re-creating life and the self according to personal rather than public norms. Although the heroic is not depicted, it is enacted by the artist himself.
It is precisely that act of courage and even faith in the human condition that I find so rewarding in the art of Mark Rhodes and Ephraim Rubenstein. In a century in which so much cynicism and even hopelessness has been expressed through the body, these artists express an affirmation toward self and humanity. Indeed, this art is about life -- the wonder of it, the joy of it -- and the exquisite range of expressions about it through art and the human form. These works represent the many strengths that Rubenstein and Rhodes draw from -- strengths that have been vitalized in visual expressions. They are, in effect, manifestations of the artists' life forces. Enjoy them!
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Contemporary Modes of Expression
University of Richmond Museums
Contemporary Modes of Expression
March 09 to March 31, 1987
Marsh Art Gallery
Introduction
The Tucker-Boatwright Festival is an annual celebration of the arts at the University of Richmond, which features literature, theater arts, music and dance, art and film in a four-year cycle.
It is with pleasure that the Art Department presents the 1987 Tucker-Boatwright Festival. The purpose of this year's festival is to emphasize the diversity and vitality of art being made today by presenting to the students and the community a series of events entitled "Contemporary Modes of Expression." Included are lectures by noted art critic Donal Kuspit and by telecommunications artist Bruce Breland; an invitational exhibition of work by Virginia and Washington, D.C., artists; a tri-city digital art exchange by Breland and collaborators; Video Transformations, a traveling exhibition organized by ICI, New York; a performance in mixed musical idioms by Claudia Stevens, and a panel discussion involving artists and critics who will focus on the festival's theme and events.
Special thanks go to Donald Kusput and Bruce Breland for their participation and enthusiasm, Roger de la Burde for his generosity, Carol Rand for her essay, and to Sheldon Wettack for his continued support.
Charles Johnson, Chairman, Art Department
Judy McLeod, Visiting Professor
Carlton Newton, Visiting Professor
Susanne Arnold, Director, Marsh Gallery
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Janet Fish: Paintings and Drawings Since 1975
University of Richmond Museums
Janet Fish: Paintings and Drawings Since 1975
September 10 to October 3, 1987
Marsh Art Gallery, University of Richmond Museums
Introduction
The Marsh Gallery takes pride in opening its 1987-88 season with the first Virginia exhibition of paintings and drawings by Janet Fish, acknowledged master of the contemporary still life according to art critic Gerrit Henry.
While this exhibition is intended to emphasize her current work it is also slightly retrospective, including work dating from 1975 to 1987, so that the viewer will understand the progression as well as the increasing depth of the artist's oeuvre.
In the midst of a "postmodern" era, hype and novelty sell art. Even so, Janet Fish's work stands apart from these sensibilities by its quiet integrity and technical brilliance. Undaunted by the dogma of pure abstraction which reigned in her formative years, Janet Fish connected with images in the real world. Rooted in the Modernist formal tradition and the Dutch still life genre tradition, her work adheres to the world of concrete contemporary experience. Fish's simple, familiar subjects are rendered with formal complexity, richness of detail and the vibrant, tropical palette of her childhood.
Her paintings of the early '70s, in which she combined realistic subjects with an abstract handling of paint, established her career. Yet, as this exhibition reveals, over the last twelve years she has taken progressively more risks with color and composition as well as with the integration of the figure. For example, Fourth of July (1985), unleashes all the possibilities of color and intricacy that are restrained and unexplored in her studies of glasses in the '70s. Additionally, the deep illusionistic space and narrative allusion in Waiting for Will (1986) severs Fish's tie with Modernism.
Although Fish's paintings may be loosely placed within the category of Realism--the cool, objective representation of the material world-they resist such tidy indexing. The tour de force of Fish's work is her personal response to her subjects. Her sensory perceptions thus yield a beauty and joie de vivre that ultimately dominate the paintings.
Susan Arnold
Director
Marsh Gallery -
Jerome Witkin: Moral Visions
University of Richmond Museums
Jerome Witkin: Moral Visions
September 04 to September 25, 1986
Marsh Art Gallery, University of Richmond Museums
Introduction
Jerome Witkin's works were first brought to my attention when I stepped off the elevator into a 57th Street gallery with business on my mind. Just then I was caught by lingering hallucinations from morning dreams, or was it actually a large painting on the wall in front of me echoing my own psychic drama? While processing loans and shuffling slides moments later, flashes of Subway: A Marriage before my eyes lured me around the corner and back into the gallery. Witkin's painting had discovered me.
In Subway: A Marriage Witkin has painted reality as a dream. It fits, given that the language of the subconscious mind is a visual language. He knows, too, that between the waking and somnus realities there are only narrow distinctions.
Witkin realizes the ephemeral nature of our existence; even his still lifes, such as Male Corpse-Upstate, render the pulse and movement of the captured moment. Each line builds, sustains or releases tension, conveying the subject in motion.
The interest taken in Witkin's work by other museum and gallery directors suggested to me a collaboration to produce a traveling exhibition. Tony Petracca, Director of the Pyramid Arts Center in Rochester, N.Y., had similar ideas. We felt that our non-profit, educational interests would be a happy marriage for the production of a very special Witkin exhibition. We were interested, too, in the response from viewers in both the university and "alternative space" environments.
We chose the paintings in the exhibition because we felt that they were powerfully current-not only in their execution, bur because of the social themes they portray or suggest. The exhibition is also slightly retrospective including pictures dating from 1972 to 1986, with the intention that the viewer will have a sense of progression as well as the depth of the artist's oeuvre. Many of the drawings in the exhibition are studies done in preparation for paintings. Masterfully drafted, these drawings are the artist's mode of investigation and records of his visual thoughts.
Melissa E. Weinman
Director, Marsh Gallery
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Ruth Weisberg
University of Richmond Museums
Ruth Weisberg
February 20 to March 17, 1985
Marsh Art Gallery
Introduction
Over the post century, the formal issues in art have been re-examined and exalted. The next question is meaning. As critic and artist, Ruth Weisberg is uncompromising in her belief that the value of art is in its meaning. Through her images, a humanitarian speaks. In her strong compassionate voice, one hears the echos of Goya, Watteau, Velazquez and Munch- those who painted and drew to expose injustice and to understand the pathos of human existence.
Ruth Weisberg is a Professor of Fine Arts at the University of Southern California. She is a contributing editor to Artweek, Vice President of the Women's Caucus for the Arts, and a past President of the Los Angeles Printmaking Society. Ms. Weisberg has been active nationally and regionally for artists' rights. She is on Advisory Board Member of L.A. Artist's Equity, Art Bank Jury, Santa Monica Arts Commission, and is a member of the College Art Association Board.
Weisberg's work has been collected by over two dozen museum and University collections including: Biblioteque Nationale, Paris; Art Institute of Chicago; Fine Arts Museum, San Francisco; Norwegian Notional Museum; Los Angeles County Museum of Art; and Harvard University. Her work has been shown in over 35 solo exhibitions, and more than 150 group exhibitions in North America and Europe.
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Street Journals: An Exhibition of Paintings and Drawings by Robert Birmelin
University of Richmond Museums
Street Journals: An Exhibition of Paintings and Drawings by Robert Birmelin
September 5 to September 29, 1985
Marsh Art Gallery
Introduction
It is with great excitement and anticipation that the Marsh Gallery presents this exhibition of Robert Birmelin's work, STREET JOURNALS. We recognize his work as having a significant place in the tradition of art, and have seen the need to introduce the man and his art to the Richmond community. We eagerly await the reverberations from this event and the impact that Robert Birmelin will make on our students and colleagues.
Like Cezanne, Picasso, and Braque, Birmelin is a master of the subtle passage. Birmelin, however, advances passage by transforming the canvas into a thin membrane through which the viewer passes in and out of a deep and complex internal space. If time and space is reality, then his is the urban reality- a constantly shifting mass of life and incident among gargantuan structure and walled-in vistas. Birmelin's painting is a record of his experience here, and he draws on the crowds and events of New York's West 14th Street for his subject matter.
Gerard Haggerty's insightful essay, "Anatomy of Dread," along with vivid descriptions of the environs and characters Birmelin depicts, offers a close analysis of pictorial form in several of Birmelin's canvases. Haggerty's study reveals the import of Birmelin's perceptual strategies in the historical and contemporary context of painting.
With the kind assistance of Robert Birmelin, we have chosen paintings, drawings, and studies that would allow the viewer to follow Birmelin painting process and to appreciate his sensitivity to scale and materials. The catalogue interview- conducted, transcribed, and edited by Eve MacIntyre, WC '85 - is especially revealing of the intent and feelings behind the images he makes.
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