Stuart Arends: John Yau wrote in The Brooklyn Rail, “For Arends, formal issues didn’t mean achieving optical illusion at the expense of tactility or vice versa. If anything, he wanted the optical and the physical to be inseparable, which ultimately suggests that the informing impulse in his work is erotic…. [His] rigorous restating of formalism’s privileging of the optical is philosophical rather than purely aesthetic; it speaks to issues of the heart. - See more at: http://www.santafe.com/article/far-from-waterloo-stuart-arends-and-la-stanza-del-amore#sthash.DNa8iG0f.dpuf
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Thomas Nozkowski "there’s a kind of excavation of my own memories and my own ideas and my own tastes that I find really exciting and really satisfying." http://bombsite.com/issues/65/articles/2171
Forrest Bess By Barbara Haskell, Curator Whitney Museum of American ArtOctober 7-December 13, 1981 "He derived his images from dreams and from a private symbolism based on obscure sexual references. Bess believed the unconscious capable of apprehending the abstract patterns and movements underlying natural phenomena, and he sought to capture this "reality" in his work. Throughout his mature years he kept a notebook at his bedside in which he drew—for later translation into oil—the visions that appeared to him between waking and deep sleep. "I close my eyes and paint what I see on the insides of my eyelids," he once remarked. To Bess, these "ideograms," as he called them, conveyed universal meanings transmitted from one generation to another through the unconscious (see Selected Lexicon of Symbols). He felt himself merely a conduit, claiming not to know at times what his images meant until years later. "I do not feel responsible for my work,"
William Anastasi in a conversation with Rachel Nackman, March 2012, NY
http://www.aboutdrawing.org/notations/william-anastasi/
"...the walking drawings gave me an idea. When there’s motion, let that motion, rather than predetermination, be the energy for the drawing—rather than consulting the aesthetic prejudice of the moment, which we usually do when we draw if our eyes are open. With the subway drawings, my eyes are closed, for the most part, or looking at the floor or the feet of the people across from me.
For me, it's about really observing. Focusing on what I am seeing (or thinking) in a very concentrated way, following its outline, sometimes gently caressing other times aggressively pressing against its contour, as if it were physically here.
r me, it's about really observing. Focusing on what I am seeing (or thinking) in a very concentrated way, following its outline, sometimes gently caressing other times aggressively pressing against its contour, as if it were physically here.
http://www.aboutdrawing.org/notations/john-cage/
John Cage by Matthew Bailey
"From the mid-1940s until his death in 1992, John Cage explored what he called “chance operations” as a means of avoiding artistic subjectivity in his musical compositions, performances, and visual art. The principles of chance, indeterminacy, and open-endedness were for Cage a way of suppressing artistic authority and intention, amplifying the viewer’s participation in the creation and interpretation of the work of art. These procedures, which hinged on randomness and detachment, followed what he called a “doctrine of nonobstruction,” by which he meant “that I don’t wish to impose my feelings on other people . . . in order to leave those centers free to be centers.”" like tracing random stones
Christine Hiebert
http://drawingroom-gallery.com/hiebert-0114.shtml
Ellsworth Kelly by Matthew Bailey
http://www.aboutdrawing.org/notations/ellsworth-kelly/
"In lieu of the Surrealist practice of relinquishing rational control in favor of unconscious processes, he instead drew scenes or objects from memory or worked “blind”—by drawing without looking at his support, with his eyes closed, or even while blindfolded.3 In this work it is likely that the artist transcribed an observed scene without looking at the paper and without monitoring his progress. This mode of working was a direct attack on conscious “motor control,” as Bois notes.4 Kelly’s method is revealed here in the way lines and forms haphazardly overlap and intersect, presenting a jumbled mass of curvilinear scribbles and irregular rectilinear contours that lose their representational function. At the same time, the drawing inevitably retains a sense of the impulse toward rational composition that the artist wished to purge from his work, a problem of which he was aware."
Victor Burgin Situational Aesthetics (the art object)
http://umintermediai501.blogspot.com/2008/06/situational-aesthetics-1969-victor.html
25 feet two hours (card file...)
