Robert Ryman at DIA foundation скачать в хорошем качестве

Robert Ryman at DIA foundation

Read the article on WWW.ARTEFUSE.COM When you first walk into the Robert Ryman exhibit in Dia: Chelsea, it appears that all there is white: white walls with hints of white rectangular shapes. In fact, this is the very starting point Ryman has exhaustively and thoughtfully sought after. As you move from one installation to the next, you are drawn into a complex reflection captured in paint strokes on a wide variety of media. Ryman investigates a variety of basic materials, such as wood, plastic, metal, paper and canvas. He seeks to illuminate the essence of these materials. All his works have the same basic intention, which is, to answer fundamental questions on what is drawing? What is painting? (source: Robert Ryman, 1969, Whitechapel Art Gallery, London). The square is the most standard shape for any painting and white the most neutral color and thus the starting and ending point of his investigations. Yet, within white and within the square shape there is seemingly infinite variety that Ryman relentlessly experiments with. He plays with sizes and tones. Even the very thickness of the white paint, whether a thin film or layered deep, demands his attention. In Ryman’s view, paintings aren’t complete until they are on the wall. He says in an interview, “You loose the composition. The line is gone, the color is gone, you loose the wall plane” when the paintings are propped up or on the ground (13, Robert Ryman, 1988, Dia). The installation was a critical part of the composition of his art. In the gallery, many of the pieces are stapled, taped and even bolted into the wall.