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My Dialog With Art Greats Robert Stanley
Notes Kline
City #2oil on paper15 x 23 in.1962
Probed the interplay of order andchaos/expression. In this piece,order was brought into the dialogmore so than Klein did in hisVawdavitch.
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Vawdavitch, 1955Oil on canvas,, 62.25 x
80.68 in.
Notes Diebenkorn
A Pathwatercolor18 x 24 in.1965
Diebenkorn’s “Ocean Park” seriesbuoyed me up with its playgroundof geometric order and painterlyexpressiveness. This work of mine,“A Path,” is youthfully naive, butdoes explore the human role inorderly forces of the universe.
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Notes Reinhardt
Trees IIacrylic30 x 38 in.1968
Reinhardt’s work was mystical butdistant to many. Using close tonesin a potentially real scene, here aforest at night, brought nature andorder closer together, so one couldintroduce more of the other, fromeither direction.
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My Dialog With Art Greats Robert Stanley
Notes LeWitt, Dada
Line Patches (ed. 8)mimeograph8.5 x 111970
Referencing Dada andConceptualism—not favorably, butsuperficially fun.
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Notes Hamilton, Pop Art
Room InteriorPastel, collage, spraypaint15 x 10 in.1970
Pop symbols are tinged with“Medieval” gold, suggesting howlimited in meaning are symbols andicons. The “room” has a difficultpresence in the chair—reflective ofthe complexity of the humancondition.
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Notes Rauschenburg
FOURacrylic enamel and turpoffset collage on canvas34”x42”1972
Rauschenburg didn’t go far enoughfor me, the images suggesting onlythe immediate.
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My Dialog With Art Greats Robert Stanley
Notes Wesselman, Pop
H Bathroom Bombmixed (box)14 x 14 x 4 in.1972
Extending a simple Pop scenariointo time, space, and emotionalreferences.
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Notes The Art Establishment
Homage to the ArtInstitute I (DIPTYCH)assemblage and acrylicon canvas board24 x 40 in.1972
“What we have here is a failure tocommunicate”—except amongourselves.
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Notes The Art Establishment
Homage to the ArtInstitute I (left side)assemblage and acrylicon canvas board24 x 18 in1972
Appropriation and socialcommentary, but looking beyondmere style or just the obvious.Money, status, being “wired in”—all questioned in terms of wish,reality and our bodies.
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My Dialog With Art Greats Robert Stanley
Notes The Art Establishment
–Homage to the ArtInstitute I (right side)assemblage and acrylicon canvas board24 x 18 in1972
What of communication—betweentimes, people and technology—andArt’s ability to do so?
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Notes Environmental /Installation
Two Receptors ofThreeceramic, epoxied earth,ink on gessoed boardca 22 x 18 in.1972
A questioning of the concept of theimpermanent as subject andmedium. Is it a good idea fortransitory art to eliminate itself fromthe contemplation ofimpermanence and transitorinessfor future generations bydisappearing?
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Notes Cezanne
Homage to Cézanneand Mecharcoal & chalk24 x 18 in.1973
What he learned about space, andhow we experience the time-spacecontinuum today
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My Dialog With Art Greats Robert Stanley
Notes O’Keeffe
Wanderersacrylic36 x 48 in.1977
A homage, combining the earlyand mature works of both of us.
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Notes Johns
Traces-1982acrylic36 x 48 in.1982
See Johns’ Fool’s House:Beyond the “coding” and greattechnique, or, perhaps throughthem, there is also a feeling,something of the human condition.
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Notes Chuck Close
States of Graceacrylic20”x16”1998
I like Close’s concepts. I put him ina bigger world.
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My Dialog With Art Greats Robert Stanley
Notes Bill Viola
Journeyacrylic on paper gluedto Masonite44” x 55”2000
Bill Viola’s figure in “The Crossing,”moving, moving, in my piece stopsmomentarily in the universe, auniverse that is both physical andmental.
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Notes Vincent Van Gogh
Van Gogh, I Knowacrylic18 x 18 in.2000
The dark sky, the depression
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Notes Norman Mooney
FragmentsInstallation100 ft x 80 ft.2004
Fragments of stone and clay arescattered about. Written on themare bits of stories and poetry. Alarge, mysterious artwork, "TheArtist on Site," adds possibilities.Participants can add these things totheir perception of the surroundingforest and fields. In a box arecomments by others, thatparticipants can read and add to.Fragments add up to a new, creativewhole.http://www.robertstanleyart.com/Web_Page_Fragments/
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My Dialog With Art Greats Robert Stanley
Notes Cézanne toPostmodernism
Discernibleacrylic, pigmented inktransfer, collage on36 x 48 in.2006
In Discernible I site the marvelousexpressiveness and estheticrationality of de Kooning within thegreater fabric of ezistence, whichcontain both order and randomness.
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Willem de KooningUNTITLED, 1977
Oil on paper on board 30 x41 in.
Notes Cézanne toPostmodernism
Palimpsestacrylic and canvas overleaf on canvas24 x 24 in. in.2007
There’s a dialectic betweenCézanne’s Mt. St. Victoire and thereal leaf “buried” in Palimpsestunder an attached piece of canvasin the upper right—a dialecticcommenting on process art, and artin general from mimesis to abstractto Postmodern.
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Notes Jasper Johns
Dialog with Johnsaluminum w stone base6 X 8 x 6 in.2008
Same size as Ballantine.The influence of Pop as doingsomething without particularly deepmeaning is questioned by these twoshapes which, while abstract,suggest human dialog.
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My Dialog With Art Greats Robert Stanley
Notes Cornell, Velasquez
Formscharcoal graphiteacrylic collage on linen14 x 17 in2008
Even though the artist tries to seeand reveal, his very solitariness andthe complexity of the world limithim, and leave him questioningboth phenomena and his means.Although looking back towards theviews on art of Classical Greece,the Renaissance, and Kandinsky,this piece, a counter toVelasquez’ “artist as revealer,”looks forward towards a new, lessironic and more esthetic, era.
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Notes Asian ArtYusho
Fossils Now (ed. 50)computer archival print12 x 16 in.2008
A common ground between Eastand West—and a difference. Spaceand time in each synergized.
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Notes Koons
Glamor Unaware ofNaturearchival computer print12 x 15 in.2008
The glamor and entertainment ofearly 21st Century art seems toignore the human condition. Thewolf that is nature cannot beavoided forever.
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My Dialog With Art Greats Robert Stanley
Notes Winslow Homer,Homer the Poet
The Contemplation ofNature (ed. 50)computer archival print12 x 16 in.2008
Traditions, such as the Homerpainting in the center, moveforward. Old and new seas aresailed.
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Notes Anselm Kiefer
Thinking LikeHeraclitusacrylic and collage oncanvas36 x 48 in.2008
A triangle of tar, far left, intrudesinto the flow, while other abstractreferences hint at an even greaterfield of existence.
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Notes John Cage
4”33” for 123 TACITperformance /installation6 x 64 x 24 ft.2009
Performed at Puerto Vallarta,3/9/2009 at 9:03 am CST
“Tacit,” the “silence” notation inmusic, has several references toJohn Cage, and the whole Fluxusmovement.
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My Dialog With Art Greats Robert Stanley
Notes Mark Bradford
Archaeologyacrylic on canvas20 x 16 in.2009
Bradford scrapes back to text asimage, often the history of recentpostings and writings on urbanwalls. Good stuff, but I like toscrape back to the realities of anhonest mark, or a symbol of life(sun) or a real person.
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Notes Johns, Velasquez
Las Meninasacrylic48 x 36 in.2009
Las Meninas is involved with arthistory, while still being about theflows in existence. I usedVelasquez’ figures in space andJohns’ reference to the Cosmos(from “Untitled 1992”). Velasquez’"Las Meninas" is aboutrepresentation, as is mine, whichrepresents some handmaidens(meninas) of this era.
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Notes Sam Gilliam
Resourcesacrylic, charcoal,colored pencil on48x36 in.2009
Sam Gilliam’s form of color fieldpainting, belonging to abstractexpressionism and lyricalabstraction seem to stress emotion,accident, and loveliness. Thesculptural 3D elements add nothingof integral significance. InResources, I place the accidentallybeautiful in relation to randomnessand thought.
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3 POINT 1970Acrylic on canvas 9 feet, 10inches x 24 feet, 8 inches
My Dialog With Art Greats Robert Stanley
Notes Mark Rothko
The Riveroil and
charcoal on canvas24 x 24 in.2010
Mark Rothko’s floating shapesprovide contemplation. I wonderedabout mixing abstractcontemplation and beauty withsome things the viewer couldidentify, a person, river.
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Notes Durer
The Great Grasspencil8 x 10 in2014
Durer’s marvelous “The LargePiece of Turf, 1503,” revealed theRenaissance world view. Mydrawing, its haste, dynamics,smallness in its cosmos, reveals myworldview of these times.
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Notes DaVinci
Contemplator Mundiacrylic & collage oncanvas36 x 48 in.2017
DaVinci painted a Savior, other-worldy. My figure is also other-worldy, in the sense of pulling awayfrom the world to see it moreclearly, in all its complexity.
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