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c u r at or’s s t at e m e n t

a r t i s t’s s ta t e m e n t

I imagined that the biggest problem facing me in putting together a show of Robert

I was most influenced by abstract expressionists, so I favor experience over conceptu-

Sussman’s work would be deciding how to sample a forty year long career in a way

alization. The best thing a painting can do, for me, is to come up with something new

that illustrated its full range and depth. Whether to choose a snapshot of a moment

visually, something that gives me a new way of looking at a thing. I like the idea that

or two, or a more measured sampling of all the work, well, that is a problem.

paintings can open eyes and change peoples’ understanding of what they see. Not to

The decision turns out to be not too hard to make. Given both the constraints of space – we can include ten to twenty paintings here at the CUE Art Foundation Gallery – and the happy and successful paintings made over the last year or so in

be too grandiose about this, but I think the art of looking clearly, of seeing things afresh, is the part of art that we can actually use in our lives. I think a good work of art can be felt physically as you look at it. You can imagine

Sussman’s studio, this ensemble of recent work will stand perfectly as the sign of a

your body in the painting, or making the painting with your own hands, or feeling a

long and rich oeuvre.

texture and the temperature of a color.

“Happy” works: slightly unhinged, sweet but rowdy, good humored and more

The fact that people have made and enjoyed paintings for thirty thousand years

than a little self conscious – these paintings know you are looking at them. They are

speaks well for us and makes me feel optimistic when I paint – even when contempo-

slightly dazed by their good luck to be out here today in a nice gallery and they are

rary events seem to warrant only negativity.

very pleased to do some tricks. This isn’t just Paul Klee’s famous “taking a line… for a walk,” everything rambles around in these paintings. Shapes, textures, colors and compositions are hiking all over the place. Their performance is a little scandalous, I think, in how they toy with so many of the images of modern painting. These are, in a certain sense, cartoons of abstraction, the Walter Lantz version of the sublime. Howard Finster dealing with Clement Greenberg instead of the New Testament. Don’t get me wrong: Sussman is a sophisticated painter and as knowledgeable about contemporary art as any artist I know. But I do think he has a very special take on art, slightly distanced and really quite amused by it. Microscopes and telescopes both make things look funny – it is only in normal range that we can lose our sense of humor. Funny is pretty much small beer by itself, but conflate it with some intricate human system (like Formalism here or Democracy for Mark Twain) and you can get something very rich, indeed. The best humor gives us a double vision of ourselves, subverts our pretensions and, best of all, helps us see things new. Seeing things new

Once I thought that making images of things was arrogant. Now I believe otherwise, that making pictures, of real and imagined objects, is the best thing in the world. I like the atmosphere created by bright, high-keyed colors. For me, colors of equal luminance are read as joyful. Flat frontal shapes evoke a sense of physical immediacy. These shapes play with “almost being.” They are more-or-less rectilinear, more-or-less biomorphic, more-orless something or other. “Almost” is a quality that is important to me, because it frees people to take that “almost” image into any area -- from mundane and obvious readings, to their most personal associations. If I am interested in something in the world, I am interested in using it in my paintings. Not just art objects and images, but all the stuff we deal with in our lives can contribute meaningfully to making paintings. I also use a lot of imagery drawn from the natural sciences, architecture, typography, maps, games and, of course, from other artists. I want to thank the CUE Art Foundation for this opportunity to show my paintings and Thomas Nozkowski for helping me put this exhibition together.

is the goal. The joke on the joke is that these pictures turn out to be very good formally – yes – with their fabulously odd colors, complex shapes and fascinating compositions.

Robert Sussman Brooklyn, NY January 18, 2004

Thomas Nozkowski

Robert Sussman: Curated by Thomas Nozkwoski  

Catalogue accompanying April 22 – May 29, 2004 exhibition

Robert Sussman: Curated by Thomas Nozkwoski  

Catalogue accompanying April 22 – May 29, 2004 exhibition

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