Here is a preview of the essay by Richard Shiff in the exhibition book of Streams - painting and cello music, which is showing now until April 20th at UConn Avery Point campus in the Alexey von Schlippe Gallery. You may purchase a copy of the book at the gallery or order one from me. Thanks More than any other modern artist, Pablo Picasso extended the expressive range of painting. But how far from the origins of his medium did he come? Around 1970, during his final years at work, Picasso became convinced that painting had barely progressed beyond its prehistoric manifestations in the caves at Lascaux and Altamira. Though modesty was never his mode, he believed that his achievements would prove slight in relation to what remained to be developed over an infinite future. Painting could hardly be dead - as numerous critics would claim in the immediate decades to follow - when so little of its potential had as yet been revealed. The immediate decades to follow correspond to the career of Joan Levy Hepburn - despite all odds, an artist committed to painting. With allusions to a geological scale of time, her recent works spark this thought: What if the failure of painting to break from its prehistoric aspects were actually its advantage? Implicitly, Levy Hepburns series of Stream paintings takes this position.
Posted on: Tue, 18 Mar 2014 15:14:52 +0000
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