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these two pieces that Ryman was aware of the art being made around 10th street at that time. Yet it seems inconceivable that these pieces could be made by the Robert Ryman of white painting fame and it is this very incongruity that provides a satisfactory measure of fascination. |
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The drawing Untitled (61.0784) from 1961 represents a bridging piece of sorts linking Ryman to the New York School while also functioning as a precursor to his later white paintings. The thick impasto texture of the paint establishes a tie into the expressionism and the near emptiness of form links it the minimalism that was to follow. Study Z, completed the same year, more directly reveals Ryman�s conceptual beginnings. You see it in the use of the grid of fine white lines and the artist�s |
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Robert Ryman, Untitled (58.0913), 1958, gouache, graphite pencil on wallpaper, 4.25 x 4.5 in |
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(again) mischievous placement of his name. It presents an interesting combination of whimsy, concept and gesture all rolled up together in a 10 x 10 inch drawing. A whole host of these followed in �62 and �63 in which intuitive gesture and the grid struggle to get along with each other while remaining separate entities. Ryman�s success in this varies but this provides the allure of witnessing the struggle of pulling the two together. |
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Robert Ryman, Untitled (61.0784), 1961, oil paint on bristol board, 12 x 12 in |
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Robert Ryman, Study Z, ca. 1961, conte crayon, pencil, charcoal on tan paper with fiber, 10 x 10 in |
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Robert Ryman, Installation View |
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