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in the paint as a de facto presence, which is obviously part of the artist�s agenda. From this angle the emotions shift, becoming less tangible as expressed by the turbulent paint handling. Although each painting sets up a conflict of sorts between the figurative forms seeking recognition and the heavy paint handling frustrating the effort, both depend on each other for emotional expression. |
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The subject matter, in and of itself is innocuous; just groups of indistinguishable figures arranged in casual poses. An interesting exercise is to stand some distance from the work and take in the figures. Then start walking in more closely and notice how they dissipate into the paint; much like what happens with Chuck Close�s paintings. This shift demonstrates Stern�s interest in preserving recognizable subject matter without allowing it to distract from the paint handling as the primary |
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David Stern, Self Portrait in Red Wings Cap, 2004, oil on canvas, 12 x 17 in |
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