#agnes barley

[topcat77]

Agnes Barley

[the-drawing-center]

A Page from the Drawing Papers Archive

This page from Drawing Papers 89 features Untitled Collage, a drawing made with acrylic on cut paper by Agnes Barley in 2009.

Selections Spring 2010: Sea Marks was comprised of works by Agnes Barley, Jerome Marshak, and Peter Matthews, three artists selected from the Viewing Program who notate, describe, and interpret aspects of the sea. The exhibition examines the capacity of drawing to represent something as dynamic, volatile, and vast as the ocean. Barley’s waveform abstractions investigated each swell, nook, curve, and crash of the waves and ultimately reduced them to spare, hovering shapes that served as placeholders for their original forms.

The Drawing Papers are a series of publications documenting The Drawing Center’s exhibitions and public programs and providing a forum for the study of drawing. For more information on Drawing Papers 89 please click here.

-Kate Robinson, Bookstore Manager

[topcat77]

Agnes Barley

[annettelin-blog]

AGNES BARLEY'S SHADOW STRUCTURES

[the-drawing-center]

Sea Marks

It is Throwback Thursday!

For centuries artists have been in awe of the beauty and power of the sea. Looking at Katsushika Hokusai’s dramatic The Great Wave, John Kensett’s tranquil sea landscape painting, Claude Monet’s exuberant brushwork of waves, and JMW Turner’s impressionistic depiction of the sea storm, we can see how the ocean’s mercurial nature has lured artists to repeatedly return to the subject.

In 2010, the exhibition Selections Spring 2010: Sea Marks was comprised of works by Agnes Barley, Jerome Marshak, and Peter Matthews, three artists selected from the Viewing Program who notated, described, and interpreted aspects of the sea. The exhibition examined the capacity of drawing to represent something as dynamic, volatile, and vast as the ocean. All three artists in Sea Marks used distinctly different interpretive strategies that yielded a range of unexpected results; in fact, one might not immediately recognize the sea in any of their works. While staying within the material bounds of traditional drawing, the works expanded our understanding of how drawing acted as a descriptive system and means of interpretation. 

Images:

Agnes Barley, Untitled Collage, 2009. Acrylic on cut paper.

Jerome Marshak, Untitled Collage, 2009. Ink and graphite.

Peter Matthews, details from Six Hours in the Pacific Ocean, 2007. Ink, water from Pacific Ocean, and rust on paper.

[vjeranski]

Agnes Barley Untitled (Monochromes Blue) 15, 2014 BARL064 acrylic on paper, 22 x 30 inches

[the-drawing-center]

A Page from the Drawing Papers Archive

This page from Drawing Papers 89  features two untitled collages of cut paper created by Agnes Barley in 2009.

Barley’s work was featured in Selections Spring 2010: Sea Marks, an exhibition comprised of works by artists who notate, describe, and interpret aspects of the sea. Sea Marks examined the capacity of drawing to represent something as dynamic, volatile, and vast as the ocean.  Barley’s waveform abstractions investigated each swell, nook, curve, and crash of the waves and ultimately reduced them to spare, hovering shapes that served as placeholders for their original forms.

The Drawing Papers are a series of publications documenting The Drawing Center’s exhibitions and public programs and providing a forum for the study of drawing. For more information about Drawing Papers 89, click here.

 -Kate Robinson, Bookstore Manager

[mentaltimetraveller]

AGNES BARLEY

Untitled Collage, 2012