A Real Laugher
his "work" shows the ludicrous extent that art critics will go to in order to pass off total garbage on the culture. When I saw this in my stepdaughter's THE ART BOOK, I laughed so heartily, that I just had to add it to my site. It's truly educational.
In fairness to THE ART BOOK, it does have many good paintings rendered in small, well made color photos [all artists in alphabetical order - "Well, they're all equals ... aren't they?"].
The above jpg was made in gray-scale because there was no color at all.
Here is an exact transcription of the book's assessment of this "work". [My comments in between brackets ... highlight to see]
"White enamel paint has been applied to a thin, unframed aluminum sheet screwed to the wall with metal bolts.These fasteners form an integral part of the blank composition,
[That IS the composition. There isn't anything else.]
which aims to rid the painting of any hint of painterly illusion.The work provides the spectator with an ecstatic tranquility that is constant in its intensity;
it also demonstrates the unique interaction between the flatness of the picture's surface and the wall behind.
[Yeah ... NO distinction.]
The work's connection with Minimalism is demonstrated by the lack of emotion and illusionism in the painting's construction.
[It evokes nothing at all in the viewer (except the above). ]
Ryman's work concentrates on emphasizing the qualities of the materials used - both the paint itself and the support (canvas, plastic, aluminum and so on).
[He relies entirely on the manufacturer of the materials to add value to his work. His personal artistic skill adds nothing to it.]
From the mid-1960s he has used exclusively white paint, so as not to distract attention from these concerns.
[... so HE doesn't have deal with "those other concerns", i.e. to "work" and to "think".]
He continues to experiment with a wide range of media and brushstrokes."
[Of course, what else is left? just ... strokes, stroking, stroked ...
Whacks on ... whacks off ....]