Art as homage drives Sam Reveles's synthesis of the orthodox modes of Abstract Expressionism, in which calligraphic line recursively drawn becomes so dense that it achieves a saturated blue field. For another approach to homage, see Judy Hudson's watercolor presenting as it does, a sort of trophy of techniques: stain, drip and stroke; in this way; thus Hudson keeps alive the memory of the New York School aftermath through painting's core practice. Everyone uses the word image but few convey it so well as Edward Henderson, whose rebarbative image informed through surreal Hairy Who shows how metamorphosis transforms mere objects. From a different headspace come the diagrams of Michael Craig-Martin and Robert Morris. For Craig-Martin the ever-tantalizing Las Meninas by Velasquez is the great source text for drawing a riddling decoction of near- and far-sighted positions, presented as through the wandering circuit of line. Fascinating to contemplate, meanwhile, is Robert Morris's proposal Cenotaph for Crash Victims because of the way his paper architecture with its matter-of-fact technique does not betray whether we are looking at an earthwork for the dystopia of which we humans are the "artists" or just the way of the world.
Marjorie Welish is an artist/critic. Of the Diagram: The Work of Marjorie Welish (Slought, 2003) collects conference papers given on her writing and art at the University of Pennsylvania. A Fulbright Senior Specialist Fellow in 2007, she taught at the University of Frankfurt and worked to complete Oaths? Questions?, a collaboration with James Siena (Granary Books, 2009). Other grants and fellowships: Adolph and Esther Gottlieb Foundation, Elizabeth Foundation for the Arts, Fifth Floor Foundation, International Studio Program, Pollock-Krasner Foundation, and Trust for Mutual Understanding. Her art was recently seen at the Esteban Vicente Museum of Contemporary Art, Segovia, Spain. She has donated work in support of the foundation's programs. View available work by Marjorie Welish here.
All works are for sale and benefit the Foundation's programs of grants to artists. Click thumbnails for a larger image. To purchase a work, or for more information, please email email@example.com.
Michael Craig-Martin Edward Henderson, Untitled, 1988
Untitled (after "Las Meninas"), 2000 $3,000
Sam Reveles, Anghiari Study, 1993 Robert Morris, A Cenotaph for
$4,800 Air Crash Victims, 1979
Judy Hudson, Untitled, 2000
Back to Artists' Choice