Posts Tagged ‘Clifford Ackley’

12th Annual Boston Drawing Show

Saturday, April 13th, 1991

GERRY BERG­STEIN’s draw­ings show scrib­bles, scrawls, cross­ings-out, angry re-work­ings, mark­ings of strug­gle and doubt. From this chaos of marks on paper emerge lumi­nous lit­tle still lives, marked by the process of decay: visions of a world in flux, where every­thing is chang­ing, grow­ing, liv­ing, dying, and being reborn. 

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The Unique Print

Sunday, December 9th, 1990

In mono­type, there is no fixed image on the print­ing sur­face. The artist paints or draws on a print­ing plate, makes changes, and prints again; the final proof is an accu­mu­la­tion of all the changes that have been made. Pale, fad­ed images of past impres­sions often cling to mono­types like shad­ows; they are called “ghosts.”

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Minor White

Monday, December 18th, 1989

MINOR WHITE’s pho­tographs con­vey a sense that behind the vis­i­ble world is anoth­er world — a world filled with mean­ing and mag­ic. He was fas­ci­nat­ed by pho­tog­ra­phy’s abil­i­ty to show what he called “things for what else they are.” He liked to quote the thir­teenth-cen­tu­ry Ger­man mys­tic Meis­ter Eck­hart: “The eye with which I see God is the same eye with which God sees me.”

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American Screenprints

Tuesday, September 26th, 1989

Many of the most mem­o­rable images of the six­ties were silkscreen prints: Andy Warhol’s soup­cans, Mar­i­lyns, and Jack­ies, Roy Licht­en­stein­s’s day-glo brush­strokes on Ben-Day dots, Sis­ter Cori­ta’s Flower Pow­er mes­sages, Robert Indi­ana’s LOVE, and Ed Ruscha’s daz­zling 1966 Stan­dard Sta­tion, radi­ant and gleam­ing in the Cal­i­for­nia light.

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