{"id":5604,"date":"2015-03-16T18:59:25","date_gmt":"2015-03-16T18:59:25","guid":{"rendered":"https:\/\/thedorseypost.com\/?p=5604"},"modified":"2015-03-14T20:09:45","modified_gmt":"2015-03-14T20:09:45","slug":"everything-emptying-into","status":"publish","type":"post","link":"https:\/\/thedorseypost.com\/?p=5604","title":{"rendered":"Everything emptying into . . ."},"content":{"rendered":"
\"Klettur,<\/a>

Klettur, John Zurier, oil on linen<\/p><\/div>\n

 <\/p>\n

John Zurier’s\u00a0work looks strenuously\u00a0minimal<\/a>, and therefore offers little to grab onto. Still, there’s a feeling of monastic restraint\u00a0and genuine feeling in his paintings, which often seem to be modest in scale, a feature commensurate with how self-effacing<\/a> they are in other respects. All of those virtues are concentrated into one or two colors. Is that enough? I can’t tell from here. He appears to give me less to look at than I ordinarily like, but that could be a way to rewind all the current\u00a0media noise. And maybe\u00a0the lack\u00a0is in myself, rather than in the paintings. It’s hard to say\u00a0without seeing them, which I may try to remedy at\u00a0Peter Blum <\/a>on my venture into\u00a0NYC next week. I think I would have passed on this, but for his artist statement, a requirement that I usually hate, but this one I love:<\/p>\n

“I remember the first painting problem that really engaged me. I tried to paint the sky seen between two buildings so that the whole of my painting would be nothing but an empty blue space. I wanted the painting to be filled with a pale empty sky. I thought it would be very easy to do, but found it nearly impossible. The painting was a failure and I had to put it off for a long time.<\/p>\n

In a way, my concerns now are not much different in that I want the maximum sense of color, light, and space with the most simple and direct means. I think the Japanese painter Ike No Taiga (1723\u20131776) was right: the most difficult thing to achieve in painting is creating a space where absolutely nothing has been painted.”<\/p>\n

January 2008<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

  John Zurier’s\u00a0work looks strenuously\u00a0minimal, and therefore offers little to grab onto. Still, there’s a feeling of monastic restraint\u00a0and genuine feeling in his paintings, which often seem to be modest in scale, a feature commensurate with how self-effacing they are in other respects. All of those virtues are concentrated into one or two colors. Is […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-5604","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nEverything emptying into . . . - represent<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thedorseypost.com\/?p=5604\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Everything emptying into . . . - represent\" \/>\n<meta property=\"og:description\" content=\"  John Zurier’s\u00a0work looks strenuously\u00a0minimal, and therefore offers little to grab onto. Still, there’s a feeling of monastic restraint\u00a0and genuine feeling in his paintings, which often seem to be modest in scale, a feature commensurate with how self-effacing they are in other respects. All of those virtues are concentrated into one or two colors. 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