new-york

Robert Yarber

Lieberman & Saul Gallery

It is common knowledge that photography today has all but replaced the sketch as a preparatory medium for painters. Even abstract painters refer to photographs in order to zero in on chromatic or compositional qualities relevant to his or her painterly concerns—Stephen Mueller, for example, who paints large stained dispersions, takes Polaroids. Among figurative artists, the dependence on everything from slide projections to photographic prints is even more common. Some, such as Chuck Close and Gerhard Richter, manage to make painting itself look like a photochemical process. Others, like Billy Sullivan or Eric Fischl, routinely use photographs as visual notes or ready-made outlines without translating a sense of the physical properties of that medium into paint. Others still, from David Salle to Julia Wachtel, take their cues from Robert Rauschenberg and Andy Warhol, incorporating photographic

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