#quaytman

[rougejaunebleu]

Harvey Quaytman

Untitled

N.D.

Acrylic and crushed glass on canvas

71.1 x 71.1 cm

[artsyloch]

R.H.Quaytman | T.Chapter 24

oil and gesso on wood 31.5 by 31.5 cm. 12⅜ by 12⅜ in. signed, titled and dated 2012 on the reverse

[ferrerocubo]

QUAYTMAN, R. H.

R. H. Quaytman es un artista contemporáneo estadounidense, más conocido por sus pinturas sobre paneles de madera, que utiliza elementos abstractos y fotográficos en "Capítulos" específicos del sitio, que ahora suman treinta y cuatro. Nació en 1961.

IMAGEN 1 - Distracting Distance, Chapter 16, 2010, Screenprint and gesso on wood, 24 3/5 × 39 9/10 in, 62.5 × 101.3 cm

IMAGEN 2 - Untitled, 1997, Oil on wood, 16 × 24 in, 40.6 × 61 cm

IMAGEN 3 - Morning, 4.545%, Chapter 30, 2016, Oil, gouache, varnish, silkscreenink, and gesso onwood, 37 1/16 × 60 in, 94.1 × 152.4 cm

IMAGEN 4 - + ×, Chapter 34, 2018, Oil, acrylic, snakeskin, and gesso on wood, 20 × 20 in, 50.8 × 50.8 cm

https://www.gladstonegallery.com/artist/r-h-quaytman/works

Gladstone Gallery specializes in modern and contemporary art with locations in New York and Brussels.

[urienclasedepintura]

R.H. QUAYTMAN

1961-presente

Distracting Distance, Chapter 16, 2010

Screenprint and gesso on wood

62.5 × 101.3 cm

Preis, Chapter 28, 2015

Silkscreen ink, gesso on wood

62.87 × 101.6 × 1.91 cm

Mother, 1992

Oil on wood, triptych

22.9 × 22.9 × 1.9 cm

Morning, 4.545%, Chapter 30, 2016

Oil, gouache, varnish, silkscreenink, and gesso onwood

94.1 × 152.4 cm

[wally-b-feed]

quaytman strau

[artenvena]

R. H. Quaytman

Nació en Boston, Massachusetts, en 1961

Hizo una residencia artística en  la Skowhegan School of Painting and Sculpture en 1982, realizó una licenciatura en  Bard College en 1983, además es hija e hijastra de dos pintores abstractos que influyeron en su desarrollo artístico

Exposiciones o premios relevantes:

Nueva obra: RH Quaytman (2010), Museo de Arte Moderno de San Francisco 

RH Quaytman: + x, Capítulo 34 , Museo Solomon R. Guggenheim en Nueva York, EE. UU. 12 de octubre de 2018 - 27 de enero de 2019 

Bienal de Whitney , Museo de Arte Americano de Whitney , Nueva York (2010) 

[illuminations-of-nyx]

R.H. QUAYTMAN

CHAPTERS

Quaytman’s practice is to create installations of painted panels termed chapters. The ongoing chapters, begun in 2001, explore formalist and conceptual variations of ideas about painting, as well as the poetic and grammatical possibilities of photography-based imagery. The installations combine abstraction, often with optical effects, and images related to the sites in which the paintings are first exhibited.

Consisting primarily of oil painting and silkscreen on precisely constructed wood panels, Quaytman’s expansive and ongoing project is organized into site-specific exhibitions that she calls “chapters.” Since 2001, Quaytman has produced 29 of these bodies of work, each drawing on narratives that reference the exhibition location, and all sharing the artist’s now-signature attention to the intersection of craft, life, and a vast network of intellectual and artistic interests. Featuring approximately 65 paintings selected from the past 10 years, including one complete “chapter” from 2011 and a significant cycle of new work made in response to MOCA and its collection, this exhibition is both an in-depth assessment and, as its title suggests, a kind of new beginning.

Quaytman’s paintings, at once pictorially abstract and conceptually resonant, reference a range of sources, including her own family history, phenomenology, social relationships, and the conventions of modernist painting. Always working on wood panels with predetermined proportions, Quaytman employs a muted palette and a range of formal techniques such as screenprinting, trompe l’oeil, and even the application of diamond dust to the work’s surface to create deceptively straightforward and visually evocative compositions. Quaytman has also displayed her paintings on storage racks placed within the exhibition space, pointing to the eventual passage into obscurity of most aesthetic objects as they make space for others. Since 2001, she has organized her paintings into “chapters,” each of which is conceptualized around a particular exhibition and evolves from a specific formal concept. For the 2008–09 grouping Chapter 12: iamb, for example, she took as her starting point the motif of a painting lit by a lamp, which has the potential to both illuminate and create blind spots through its reflection. The decision to imitate the structure of a book in her work reflects Quaytman’s belief that images and their meanings are inherently contingent. The meaning of each painting is dependent not only on the person standing before it but also on the image next to it. Likewise, each chapter is informed by those that came before. In 2011, Quaytman made this approach literal with the publication of the artist’s book Spine, a catalogue raisonné of sorts in which she revisited the twenty chapters that make up her preceding decade’s output. In Quaytman’s works, meaning is fluid, traditional categories are perpetually destabilized, and perspective is subject to multiple shifts. Her paintings establish their own visual lexicon without jettisoning existing systems of signification.

[rougejaunebleu]

Harvey Quaytman

Voyager

1991

Acrylic on canvas

152,4 × 228,6 cm