Absence made visible

Author

McEvilley, Thomas

Document type

Article (journal)

Language

English

Source

Artforum. 1992, Num. 10, Vol. 30, 92-96, 7 ill. (4 col.)

ISSN

0004-3532

Abstract (en)

Discusses Robert Ryman's paintings, and the consistency of his premises over the past three decades: format limited primarily to the square, palette almost exclusively white, etc. Considers the many ways that critics have approached his work, variously linking it to Minimalism, post-Minimalism, and a number of other aesthetic categories. Presents the artist's own views on his work, which he characterizes as Realist--"The painting is exactly what you see...it is simply and directly a real object"--but notes the variety of associations that others have cited, including narrative, drama, and the sublime. Argues that Ryman cannot eliminate this aspect of his art merely by denying it.

Subject (en)

• General history of art -- 1945-present -- Pictorial arts -- Painting and drawing -- United States
• Ryman, Robert, b.1930
• Painting
• United States
• 1900-2000
• Art criticism
• Minimal art
• Post-minimalism
• Realism

Subject (fr)

• Histoire générale de l'art -- 1945-présent -- Peinture et arts graphiques -- Peinture et dessin -- États-Unis
• Ryman, Robert, n.1930
• Peinture
• Etats-Unis
• 1900-2000
• Critique d'art
• Art minimal
• Postminimalisme
• Réalisme

Origin

DatabaseBHA (Inist-CNRS/GRI)

Identifier19921001-00433589

Sauf mention contraire ci-dessus, le contenu de cette notice bibliographique peut être utilisé dans le cadre d'une licence CC BY 4.0 / Unless otherwise stated above, the content of this bibliographic record may be used under a CC BY 4.0 license