National Gallery of Art acquires work by Jack Whitten
The First Art Newspaper on the Net    Established in 1996 Friday, November 22, 2024


National Gallery of Art acquires work by Jack Whitten
Jack Whitten, Cut Acrylic Series #3, 1973. Pastel and powdered pigment on wove paper, sheet: 47.5 x 65.8 cm (18 11/16 x 25 7/8 in.) National Gallery of Art, Washington. Gift of Funds from Agnes Gund, 2023.24.1 © 2023 Jack Whitten.



WASHINGTON, DC.- One of the most influential abstract and conceptual artists of his generation, Jack Whitten (1939–2018) is best known for his innovative approaches to applying paint to canvas that result in fissured surfaces and unusual terrains. Whitten’s style has been described as bridging gestural abstraction and process art. The National Gallery of Art has acquired three extraordinary drawings by Whitten that provide insight into his artistic interests and demonstrate the important place of drawing within his career.

Initially associated with the abstract expressionist painters active in New York City in the early 1960s, Whitten gradually focused on experimenting with process and technique, an approach that came to define his distinctive practice. In place of a brush, Whitten used squeegees, Afro picks, combs, and tools he made to apply paint to canvas. Among his signature inventions was a collage-like technique that he developed in the early 1970s. He cut small cubes, or tesserae, from slabs of acrylic paint and then arranged and adhered them to catch and reflect light on his canvases.

Drawing was a vital component of Whitten’s artistic endeavor. He was fascinated by the responsiveness of different types of paper to various media, and he welcomed the incidental effects that the immediate environment (temperature, humidity, etc.) could create.

King’s Garden #14 (1968), made during the year of Dr. Martin Luther King’s assassination, is typical of Whitten’s earlier work, with figurative elements dispersed within an abstracted landscape. Inspired by Dr. King and the civil rights movement, Whitten’s participation in the nonviolent student demonstrations held across the country in the spring of 1960 had a profound effect on his worldview. Drawn with sumi ink, the washes of black ink in King’s Garden #14 seep into highly absorbent rice paper, creating soft-edged contours that suggest trees, foliage, and gently rounded hills on the horizon. Passages of pale tan washes define seemingly disembodied heads with facial features executed in flourishes of fine lines in pen and ink. Among the unusual feature of this drawing are numerous areas where long paper fibers have been teased out, flared, or added to the paper surface. Appearing as fuzzy ghost-like forms within passages of black ink wash, this textural effect contributes to the composition’s dream-like aura, enhancing the spectral presence of the various faces that float above and emerge from the landscape.

Cut Acrylic Series #3 (1973) was created when Whitten was fully committed to experimenting with the conceptual possibilities of paint and pigment. He used various tools to drop and smear powdered black pigment across the surface, incorporating the paper’s texture to emphasize the interaction between the drawing material and the support. Against this predominantly black field, Whitten selectively added marks in brightly colored pastels to call attention to the drawing’s flat surface and to make the dark underlayer appear to recede in space. The seductive tactility of the drawing, with its variety of textural, gestural, mechanical, and incidental mark-making, exemplifies Whitten’s navigation of process-based and gestural abstraction.

Radiator Drawing #5 (2010) is part of a series of drawings that was inspired by Whitten’s fascination with the grille design of his old car’s radiator. He transcribed the design by placing a sheet of rice paper over the radiator grille and rubbing it with graphite. The resulting composition has an ethereal quality created by the uneven transfer of the grille texture. The addition of repeated circles of different sizes and diagonal lines suggest planetary pathways or other cosmological connections. Whitten also emphasized the physicality of the drawing: vertical and slightly angled wound-like slits in areas of heavily applied graphite disrupt the surface of the thin rice paper.










Today's News

August 21, 2023

Auctioneer who helped create fake Basquiats gets probation

Cooper Hewitt announces 2023 National Design Award winners

National Gallery of Art acquires work by Jack Whitten

Ed Ruscha work is the gem of Bonhams Post-War & Contemporary Art X Made in California auction

Wildfires and the threat to international cultural heritage: The art shipping community responds

Single Channel begins national tour in Western Australia

More than 800 human-harvested shellfish species tend to be more resistant to extinction

Smithsonian museum recognizes the 60th anniversary of the March on Washington

Brussels Gallery Weekend 2023 will be held 7-10 September

Re-creating a bygone China, one miniature home at a time

Clio Art Fair shares the opening of its 15th edition September 7 - 10, 2023

Volume festival reveals massive free program of music, film and dance

Brazil found the last survivors of an Amazon tribe. Now what?

The real Tahiti olympics celebrate Polynesian culture

Did Gérard Grisey's music predict his own death?

Paul Boesch Art Prize 2023 goes to Senam Okudzeto

The Baltimore Office of Promotion & The Arts announces updates to Artscape 2023

Edinburgh Art Festival heads to the woodlands of Jupiter Artland for magical one night festival

Philadelphia musicians authorize strike before new season

Exhibition highlights the recent discovery of a Greek bronze statuette and its treatment by Getty conservators

Holabird Western Americana Collections will hold a "Raise a Glass to Yesteryear" auction

Save Venice launches new campaign for the mosaic floor of the Basilica di Santa Maria Assunta - Torcello

Sliman Mansour's Limited Edition exhibition on view at Zawyeh Gallery and virtually

How Much Do You Know About Slots Online?

Vital Tips for Crypto Futures Trading

14 Beauty Essentials To Pack for Your First Semester of College




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Attorneys
Truck Accident Attorneys
Accident Attorneys
Holistic Dentist
Abogado de accidentes
สล็อต
สล็อตเว็บตรง

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful