Robert Ryman
"... in the work of Robert Rauschenberg, who in the 1950s produced several
all-white and all-black paintings. The white paintings helped inspire Cage
to write 4'33", so we can see some interesting crossover occuring
between the arts at this point. Cage was to write admiringly of the paintings,
that they constituted 'airports for the lights, shadows, and particles.
Robert Ryman is another artist who has exhibited all-white paintings,
and Ad Reinhardt all-black. In each case the critical response has been
to raise the issue of silence, of what the artist is choosing not to do,
although that silence has been interpreted in a variety of ways... ..."
in "Manifesto for Silence" by Stuart Sim - Edinburg University Press Ltd - 2007
"... in the work of Robert Rauschenberg, who in the 1950s produced several
all-white and all-black paintings. The white paintings helped inspire Cage
to write 4'33", so we can see some interesting crossover occuring
between the arts at this point. Cage was to write admiringly of the paintings,
that they constituted 'airports for the lights, shadows, and particles.
Robert Ryman is another artist who has exhibited all-white paintings,
and Ad Reinhardt all-black. In each case the critical response has been
to raise the issue of silence, of what the artist is choosing not to do,
although that silence has been interpreted in a variety of ways... ..."
in "Manifesto for Silence" by Stuart Sim - Edinburg University Press Ltd - 2007
***
” ... j'ai toujours pensé aux peintures blanches comme n'étant pas passives, mais... en fait, hypersensibles. ...
Si bien qu'on pouvait les regarder et pratiquement voir, d'après leurs ombres portées, combien de personnes étaient dans la pièce, ou à quelle heure de le journée il était..." Robert Rauschenberg
Si bien qu'on pouvait les regarder et pratiquement voir, d'après leurs ombres portées, combien de personnes étaient dans la pièce, ou à quelle heure de le journée il était..." Robert Rauschenberg
Igor Malevich
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