… The Robert Ryman connection is right on the mark, (pun intended). Besides allowing the viewer to see the support materials, (quite beautiful), it also objectifies the painting, which is a rather important detail when one the most often made comments – has to do with ‘transcendence’. An additional reason, although more for artists sake, is to show that the painting is indeed traditional linen, which is fragile, stretched on wooden stretchers, this makes an even-surface sanding close to an impossibility, physically sharp edges are a sign that it was indeed painted on the stretcher, not stretched after.<\/p>\n
A big thank you from Mr. Ross for his input and if you have not, do yourself a favor a check out his show at Stephen Heller Gallery in New York if you can. (I think it is still up)<\/p>\n","protected":false},"excerpt":{"rendered":"
… The Robert Ryman connection is right on the mark, (pun intended). Besides allowing the viewer to see the support materials, (quite beautiful), it also objectifies the painting, which is a rather important detail when one the most often made comments – has to do with ‘transcendence’. An additional reason, although more for artists sake, is to show that the painting is indeed traditional linen, which is fragile, stretched on wooden stretchers, this makes an even-surface sanding close to an impossibility, physically sharp edges are a sign that it was indeed painted on the stretcher, not stretched after. A big…<\/p>\n