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Topic: Brice Marden

	ARTEZINE No. 14: Brice Marden MoMA Retrospective
		Marden's work the viewer is a silent witness to the tensions between the extravagances and excesses of the Abstract Expressionism movement and its aftermath, Minimalist art, with its purified simplicity and its ascetic's forms, devoid of personality and mark-making.
		Marden is always aware of the times in which he is living and of the influences that are worth undertaking and making of its own.
		For this reason Brice Marden is raising issues that are beyond his body of work presented at MoMA, carrying with him the weight of an epoch, the Sixties, and somehow synthesizing the spirit of that age of disbelief and iconoclastic accounts and another one, the eighties, of newly gained joviality for the act of painting.
	www.artezine.com /bricemarden.html (750 words)

	Brice Marden - ARTINFO.com
		For Marden is an artist whose career is divided into two hugely distinct styles.
		Then, after a period of experimentation in the early 1980s, he arrived, in the middle of that decade, at the quite different, gestural style—heavily influenced by East Asian calligraphy—that he is best known for today: ribbons of colors twisting in and out of one another against a solid-color background.
		Marden spoke to ARTINFO—about the factors leading to this stylistic shift, about the energy of artwork, about why people collect—in his West Village studio while he was making the final preparations for the MoMA opening.
	www.artinfo.com /News/Article.aspx?a=22830 (731 words)

	Brice Marden - Encyclopedia.com
		Marden began exhibiting his work in the 1960s, becoming known for minimalist abstractions executed in oil paint and beeswax and composed of one or more rectangular panels of muted, monochromatic color, such as D'Après la Marquise de la Solana (1969, Guggenheim Mus.).
		Marden, whose work is in the collections of many major museums, was the subject of a retrospective exhibition at the Museum of Modern Art in 2006.
		Arts: Abstraction's rich possibilities In the Sixties Brice Marden was one of the leading New York minimalists, and his paintings from that period still fetch huge sums.
	www.encyclopedia.com /doc/1E1-MardenB.html (1172 words)

	Brice Marden
		Brice Marden was born on October 15, 1938 in Bronxville, New York.
		From 1969 to 1974, Brice Marden was a painting instructor at the School of Visual Arts in New York.
		Marden’s "additive" panels embody this existential triad, both externally and internally, spatially and conceptually.
	www.cosmopolis.ch /english/cosmo41/brice_marden.htm (1325 words)

	village voice > art > Brice Marden's Breathtaking Ways by Jerry Saltz
		This is because, since around 1986, Marden has methodically and compulsively, sometimes annoyingly, but nevertheless magnificently, made a seemingly endless, slowly evolving series of exotically colored paintings with Hellenistically shallow space and artery- and spaghetti-like looping lines and squiggles that move within these canvases like snakes in a box.
		First, Marden's rich drawings, loaded as they are with false starts, dead ends, and messy thoughts, have been inexplicably installed far away on the third floor.
		Nonetheless, this retrospective leaves you with the impression that Marden's endless elliptical journey around and within the edges of his paintings, as ravishing as it can be, might now be a kind of holding pattern or way to stave off another painful transition.
	www.villagevoice.com /art/0651,saltz,75311,13.html (1575 words)

	The Arts in San Francisco, CA \| 'Brice Marden: A Retrospective of Paintings and Drawings' at the San Francisco Museum ...
		Unlike the minimalists of the time, with whom Marden was easily grouped, he never wanted to erase all the evidence of a human hand at work; his surfaces don't aim for machinelike perfection.
		Marden must have felt the sense of confinement, for about 1970, vertical panels of color stand beside the gray and fl.
		Everything changed in the early 1980s in the face of several events: Marden's long (but never finished) project for some church windows in Basel, in which he started working with rectilinear lines and diagonals, a crisis in his marriage and a trip to Asia that began a continuing immersion in Chinese art, especially calligraphy.
	www.metroactive.com /metro/03.21.07/brice-marden-0712.html (731 words)

	An Artist Reinvents Himself: Brice Marden, Work of the 1990's
		By 1988, Marden’s work had taken off in an entirely new direction, and the beginnings of the style he would pursue in the 1990s could be seen.
		Marden’s work was further changed by a professional crisis at the same moment in 1984, which almost caused him to abandon painting altogether.
		Marden’s paintings and drawings are captivating on many levels; and, after all the interpretation and scholarly inspection, fundamentally the works are rather straightforward.
	www.carnegiemuseums.org /cmag/bk_issue/2000/mayjun/feat2.html (1061 words)

	The Brooklyn Rail - October 2006 - Brice Marden with Jeffrey Weiss
		Marden: Actually, they came from a group of paintings that were made as studies for the Basel stain glass windows in the early ’80s, which were based on the elements: red, green, yellow, and blue.
		Marden: (Laughs) Frank was operating on some other level that made me feel like the more he was going away from Abstract Expressionism, the less I wanted to be conceptual, which is one of the reasons I could identify with somebody like Johns.
		Marden: Well I used to listen to it, because I had a studio on the Bowery that was noisy, so I would listen to it to block out the noise.
	www.brooklynrail.org /2006-10/art/brice-marden (4919 words)

	Artdaily.org - The First Art Newspaper on the Net
		Brice Marden: A Retrospective of Paintings and Drawings, on view at MoMA from October 29, 2006, to January 15, 2007, is organized by Gary Garrels, Senior Curator, UCLA Hammer Museum, Los Angeles.
		Brice Marden was born in 1938 in Bronxville, New York.
		Marden was now fully launched as a painter to be reckoned with." Shortly after the Bykert Gallery exhibition, Marden created the two-panel painting For Helen (1967), which is dedicated to Helen Harrington, whom Marden married in 1968.
	www.artdaily.com /section/news/index.asp?int_sec=2&int_new=17946 (2209 words)

	Online NewsHour: Report \| Artist Marden's Abstracts Evolve \| January 8, 2007 \| PBS
		JEFFREY BROWN: The abstract paintings of Brice Marden are actually about many things: color, the light that comes streaming through the windows of his studio, shapes and landscapes he's seen, ideas and people in his life, the material nature of paint itself.
		JEFFREY BROWN: Marden's early canvasses fit into the minimalist movement of the 1960s, when artists were pairing things down to essentials: single color panels with many layers of paint put on, scraped down, the canvas worked over to create subtle effects of light, the panels and colors put together in different ways.
		BRICE MARDEN: You as the artist are in dialogue with the work, and you do things to it, and then things you do to it, it forces you to do other things.
	www.pbs.org /newshour/bb/entertainment/jan-june07/marden_01-08.html (1277 words)

	Art Brokerage - Brice Marden Artist Page - Fine Art Classifieds
		Marden came from a family immersed in the arts, but the idea to be an artist seems to have been essentially his own and to have matured gradually.
		Marden first came to public attention with grayish monochrome paintings done with a mixture of beeswax and oil.
		Marden's summer home is in Kamini on the Greek island of Hydra, and he enjoys its isolation.
	artbrokerage.com /art/marden (332 words)

	MoMA.org \| Exhibitions \| 2006 \| Plane Image: A Brice Marden Retrospective, Paintings and Drawings
		This retrospective of the artist Brice Marden is an unprecedented gathering of his work, with more than fifty paintings and an equal number of drawings, organized chronologically, drawn from all phases of the artist's career.
		The work of the first twenty years, characterized by luminous monochrome panels, which first won the artist acclaim, is now seen in balance with the celebrated work of the past twenty years.
		In the mid-1980s Marden shifted to calligraphic gestures embedded in shimmering grounds before moving to heightened color in the past decade.
	moma.org /exhibitions/2006/BriceMarden.html (231 words)

	David Cohen on Brice Marden at the Museum of Modern Art
		However much Brice Marden was a child of Minimalism, the true character of his work is something superficially similar to but distinct from reduction— namely, simplicity.
		Marden’s lyrical, sumptuous paintings and works on paper is something quite opposite—an epicurean principle, an art born of rich aesthetic memories, of manifest pleasures in making.
		Marden progressed, by the end of the 1960s, to multipanelled compositions where singly colored canvases extend and contrast with their neighbors.
	www.artcritical.com /DavidCohen/SUN172.htm (1530 words)

	Brice Marden - Dallas Museum of Art, Dallas, TX ArtForum - Find Articles
		Marden's most quoted statement is his 1974 reference to "the indisputability of The Plane," which suited his waxy monochromatic panels of that moment.
		Perhaps Marden's intense involvement with his studio materials entails this kind of sympathy between the figured stretch and the real one.
		Marden is among a select number of painters (Robert Marigold, Chuck Close, and Vija Celmins are others) who have resisted a surrounding culture of virtuality and simulation by yielding their art to it - but only partway.
	www.findarticles.com /p/articles/mi_m0268/is_9_37/ai_54772292 (806 words)

	Collection Search Record
		During the 1960s and 1970s, Brice Marden was known for monochromatic canvases distinguished by subtly textured encaustic surfaces, restrained brushwork, and accidental drips.
		With a brush attached to a stick, Marden drew rows of abstract symbols over thin washes of color reminiscent of the atmospheric landscapes in Chinese paintings.
		"Brice Marden: A Retrospective of Paintings and Drawings" 29 October 2006 - 7 January 2007.
	hirshhorn.si.edu /collection/record.asp?Artist=Marden&hasImage=1&ViewMode=&Record=1 (392 words)

	BRICE MARDEN'S RETROSPECTIVE PREMIERES AT MoMA \| Art Knowledge News
		Marden saw the 1971 Barnett Newman retrospective at The Museum of Modern Art and was inspired by Newman’s series of four large works titled Who’s Afraid of Red, Yellow, and Blue (1966–70).
		Among the important developments was Marden’s abandonment of the use of wax in 1981 because of the fragility of the surfaces of his paintings.
		Marden has used the phrase “plane image” for decades, often saying that his work is a synthesis of the plane and the image.
	www.artknowledgenews.com /Brice_Marden-MoMA-exhibit.html (1714 words)

	Hanging With Brice Marden
		With this in mind, having seen "Brice Marden: A Retrospective of Paintings and Drawings" in New York, I persuaded Marden and the show's curator, Gary Garrels, to discuss the show's preparation at the San Francisco Museum of Modern Art, while it was in progress.
		Brice and I went through his entire production several times, and it was very clear that there were certain paintings that had to be in the show.
		Marden could not say whether or not the newest work on view indicates the direction of work to come.
	www.sfgate.com /cgi-bin/article.cgi?file=/c/a/2007/03/04/PKGFSO8PED37.DTL (2054 words)

	Brice Marden Work of the 1990s
		Marden has developed his calligraphic mode throughout the nineties in allover works that bring linear drawing to the painting act.
		Marden’s first major linear painting series, Cold Mountain,”; extends the ailanthus drawing technique to oil paint, linen and monumental scale.
		In dematerializing his already spare technique, Marden sometimes sands the paint to the canvas’ nap, thus literally leveling the hierarchy of support and medium.
	home.earthlink.net /~dadaloplop/brice_marden.html (499 words)

	Brice Marden - Art - Report - New York Times
		Marden says he feels deeply involved in the landscape at each of the four residences he and his wife, Helen, maintain.
		Marden’s hometown, where the couple and their two 20-something daughters typically spend July; an old barn was converted to a workspace there.
		Marden’s abstractions — from his early one-color one-panel wax-infused minimalist oils to the snaking forms of the last 20 years — is less direct, yet no less profound.
	travel2.nytimes.com /2006/10/29/arts/design/29loos.html?pagewanted=1 (873 words)

	Guggenheim Collection - Artist - Marden - Biography
		It was at Yale that Marden developed the formal strategies that characterized his paintings of the following decades: a preoccupation with rectangular formats and the repeated use of a muted, extremely individualized palette.
		In the summer of 1963, Marden moved to New York with his wife, Pauline Baez, whom he had married in 1960, and with whom he had a son, Nicholas.
		Marden spent the spring and summer of 1964 in Paris, where he was inspired by the work of Alberto Giacometti.
	www.guggenheimcollection.org /site/artist_bio_101.html (453 words)

	MoMA.org \| Exhibitions \| 2006 \| Plane Image: A Brice Marden Retrospective, Paintings and Drawings
		This retrospective of the artist Brice Marden is an unprecedented gathering of his work, with more than fifty paintings and an equal number of drawings, organized chronologically, drawn from all phases of the artist's career.
		The work of the first twenty years, characterized by luminous monochrome panels, which first won the artist acclaim, is now seen in balance with the celebrated work of the past twenty years.
		In the mid-1980s Marden shifted to calligraphic gestures embedded in shimmering grounds before moving to heightened color in the past decade.
	www.moma.org /exhibitions/2006/BriceMarden.html (231 words)

	SFMOMA \| Exhibitions \| Exhibition Overview: Brice Marden
		Among the most esteemed American artists working today, Brice Marden tirelessly pushes the bounds of his aesthetic, producing paintings and works on paper that display remarkable elegance and lyrical beauty.
		Featuring more than 100 pieces ranging from the 1960s to the present, the presentation encompasses Marden's celebrated monochrome panels of the 1960s and 1970s and the serpentine designs produced in more recent years — plus two new paintings in their public debut.
		Plane Image: A Brice Marden Retrospective features nearly 250 color images and chronicles the development of Brice Marden's groundbreaking paintings and drawings from the 1960s to the present.
	www.sfmoma.org /exhibitions/exhib_detail.asp?id=280 (770 words)

	OZON.ru - Brice Marden: Drawings and Paintings 1964-2002 \| Книги / Foreign books / Искусство и ...
		Examining Marden's approach to the pictorial plane and his use of grids, they reflect on his relation to Abstract Expressionism, minimalism, Chinese calligraphy and the European masters.
		An extensive discussion of Marden's use of color and its relation to memories and places, emphasizes the intricate subjective dimensions of Marden's painting, of his sensitive perception of color's personal and cultural connotations.
		Yau's acute critical observations and Marden's precise reflections on his paintings and their relation to cultural traditions and natural phenomena underline the richness and complexity of Marden's art and provide a unique key to the work of one of the great masters of abstract painting.
	www.ozon.ru /context/detail/id/2527657 (294 words)

	Matthew Marks Gallery
		Brice Marden: Plane Image, A Retrospective of Paintings and Drawings, Museum of Modern Art, New York.
		Brice Marden, Drawings 1964-1994, PaceWildenstein, New York (catalogue)
		Brice Marden, Al Taylor, Terry Winters, Nolan/Eckman Gallery, New York, New York
	www.matthewmarks.com /index.php?n=1&a=111&b=1 (2723 words)

	Daros Publications -Brice Marden
		A representative group of paintings by Brice Marden (b.
		Close collaboration with the artist and the generous support of a few collectors have made it possible to mount a presentation of 20 paintings and some 60 works on paper spanning over forty years of the artist’s oeuvre.
		The bilingual catalogue book published in conjunction with the exhibition includes an essay by Eva Keller and an interview with Brice Marden by the writer John Yau.
	www.daros.ch /EXH/FLASH/hom_pub8_e_f.html (124 words)

	Plane Image: A Brice Marden Retrospective by Gary Garrels, Brenda Richardson, Richard Schiff, Brice Marden The Museum ...
		The accompanying catalogue is the first book to take readers through the full course of Marden's work as it has developed over more than 40 years from the early 1960s to the present, showing his gradual, deliberate evolution, along with his constant exploration of light, color and surface at every turn.
		Marden himself addresses his working methods in an interview, and a comprehensive chronology, exhibition history and bibliography close the book out.
		This handsome volume explores Brice Marden's illustrious career as an abstract artist of New York city from the 60's unto the present day.
	artbooks.the-artists.org /r-1000/m-Books/b-1876/a-087070446X/Default.aspx (421 words)

	Brice Marden: A Retrospective of Paintings and Drawings - Art - Review - New York Times
		Brice Marden, whose 40-year-career is the subject of a quietly magnificent retrospective at the Museum of Modern Art, is unusual among major American postwar painters.
		Marden’s abstractions progress from one idea of structure, proportion, color, light and surface to another, his trajectory encompasses a tremendous range of physical and emotional energy and gives the lie to the idea that any art can be purely formal or completely abstract.
		Marden was adding beeswax to his oil paint and applying it to his canvas, like the workmen, with a palette knife.
	www.nytimes.com /2006/10/27/arts/design/27mard.html?ex=1319601600&en=637d345f27133e6b&ei=5088&partner=rssnyt&emc=rss (1106 words)

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