Cindy Nemser

  • Lee Krasner’s Paintings, 1946–49

    FROM 1946–49 LEE KRASNER produced a group of major works she calls the Little Image paintings. These works, whose originality and quality entitle their creator to take her place as one of the leading artists of the first generation of Abstract Expressionists, have never been exhibited as a complete body.1 Moreover, the importance of the Little Image paintings in relation to the contemporary works of such artists as Jackson Pollock, Adolph Gottlieb, Mark Tobey, and Bradley Walker Tomlin has never been acknowledged in official circles. This lack of acknowledgment has resulted in a serious

  • An Interview with Stephen Kaltenbach

    DO YOU CONSIDER YOURSELF a conceptual artist?

    Yes. I think most of the work is heavily weighted towards ideas and away from the visual. Most of my art is direct action. Art is traditionally shown in galleries and the folks who traditionally show it there are trying to make the showing system work with conceptual art. It seems to me to be a difficult thing to do because the gallery/museum setup is designed for an experience which is primarily savoured with the eye. For conceptual work, the taste buds are mostly in the mind.

    I think that conceptual art is about art. It is an emphasis of a position

  • An Interview with Eva Hesse

    Do you identify with any particular school of painting?

    I DON’T THINK I EVER DID any traditional paintings—except what you call Abstract Expressionism. I most loved de Kooning and Gorky, but that was personal—not for what I could take from them. But I know the importance of Kline and Pollock and now I would say Pollock before anyone, but I didn’t feel that way when I was growing up. Oldenburg is an artist that I really believe in. I respect his writings, his person, his energy, his art, the whole thing. He has humor, and he has his own use of materials. But I don’t think I’ve taken or used those

  • An Interview With Chuck Close

    WHY DID YOU DECIDE to make photographic rather than life studies the subjects of your paintings?

    The decision evolved partly out of a problem I had with making a painting about how my eyes focused on a still life. When I focused on the pitcher in the foreground, it was sharp. Then when I looked at the drapery behind the pitcher it was in sharp focus too. No matter where I looked all parts of the still life seemed to have equal focus. Now I knew this phenomenon was not true of natural vision since peripheral vision is always blurred. Suddenly it occurred to me that if I was really interested in