VMoA Book II Frank Wimberley

Frank Wimberley The Drawing Project Valentine Museum of Art

FrankFrank Wimberley Wimberley The DrawingThe Project Drawing Project

FW

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This monograph pays tribute to my legacy as an abstract expressionist painter and it

celebrates my willingness to create in a medium that was not a part of my art practice.

Drawing with oil stick on paper for the first time revealed a surprisingly, new visual language to navigate and explore. I am immensely proud of the results of this project, and at 91 years of age I plan to create more work. By bringing this tome to fruition, its publisher Michael Valentine has created another testament to his unwavering commitment to celebrating the work of contemporary artists.

Frank W. Wimberley

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Frank Wimberley The Drawing Project

Limited Edition Book II

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Frank Wimberley in his studio Photo by Jerry Jack

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FRANK W. WIMBERLEY is an American artist who was born in 1926 in Pleasantville, New Jersey. Wimberley’s interest in art developed during his time in high school, and continued to grow as he served in the military. While attending Howard University in Washington, D.C., Wimberley studied under Lois Mailou Jones, James Lesesne Wells, and James A. Porter. However, it was after his arrival in New York City in 1947 that he began to develop his voice as an artist. Although the 1950’s signaled the transition from Abstract Expressionism to Pop Art, for Wimberley, this period of growth was spawned in part by his discovery of contemporary abstract painters of the day, including Al Loving, Gottlieb, Kline, Pollock, de Kooning and Motherwell. After viewing Al Loving’s work at a solo exhibition at the Whitney Museum in 1969, Wimberley described the experience as “encouraging and invigorating”. His first exposure in New York City galleries was with Acts of Art Gallery, Kenkeleba Gallery, and The June Kelly Gallery.

Over the past five decades Wimberley’s works have been featured in group and solo exhibitions at museums and major galleries throughout the United States and internationally. Wimberley’s works are in the private collection of the Coca Cola Bottling Company, the David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora, Islip Art Museum, the John Hoskins Estate, PepsiCo, the Schomburg Center for Research in Black Culture, Time Warner, and the Yale University Art Gallery. Wimberley’s works were featured in group and solo presentations at The Opalka Gallery in Albany, Arlene Bujese Gallery in East Hampton, Alpan Gallery in Huntington, NY, Spanierman Modern Gallery in New York City and will be the subject of a solo retrospective at The Guild Hall Museum in East Hampton, New York.

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Valentine New York PO Box 100097 347-651-6944 www.Valentinemuseumofart.com Frank Wimberley: The Drawing Project ISBN: 978-0-9767374-1-4 Essay and Q&A: Phyllis Braff Editor: Debra P. Hershkowitz Designer: Robergeau Duverger Art work photographed by Gregory Costanzo Frank Wimberley portrait by Donovan Nelson Frank Wimberley, photographed by Jerry Jack Copyright © 2017 by Valentine New York, All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher.

Published and distributed by Valentine New York Printed and bound in Italy

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Contents

Biography v Foreword 1 The Drawing Project 2 Interview with Frank Wimberley

8

Spanish translation

15

French translation

31

Black Vertical Plates

46

White Vertical Plates

96

Black Horizontal Plates

146

White Horizontal Plates

250

Exhibitions and Selected Bibliography

344

Plates 348

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FOREWARD Wimberley Revealed I first became aware of Frank Wimberley’s work in the Eastville Artists exhibition at the Guild Hall Museum in 1979. Already a decade into his exhibiting career, Wimberley’s work was assured and vibrant. I have been fortunate to be able to present his works a number of times over the succeeding 30 years.This has also afforded me the opportunity of spending time with this most gracious and reflective individual.

One of the great privileges of this time was mounting the first full career overview of Wimberley’s work at the Opalka Gallery in 2004. It was in preparation for this exhibit that my sense of the depth and ongoing vitality of his inspiration was confirmed. Now, 5 years hence, upon viewing this very particular body of work, Wimberley’s vocabulary is articulated and more nakedly revealed than in any previous assemblage of works.

As I review the images contained herein, I see them as a key to works past and to come.

I become more alert to the variety of mark making as well as the continued fertility and audacity of Wimberley’s vision. In these works one sees the sculpture from the 1980s as well as vestiges of the ceramics from the preceding decades. The immediacy of the mixed-media works of the 1970s and 1980s are often evoked. There are the origins of paintings whose initiation is veiled in paint and scrubbing. Most exciting are hints of works yet to come. This then is a welcome insight into the oeuvre of an artist whose explorations already span the decades and whose continuing rhythms of expression carry and capture our whimsy as well as our imagination.

Jim Richard Wilson, Director Opalka Gallery The Sage Colleges, Albany, New York

White Vertical 2 Photo by Gregory Costanzo

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Frank Wimberley

THE DRAWING PROJECT Frank Wimberley is best known for powerfully resonant abstract paintings that celebrate both the potential of color to achieve expressive nuances and the potential of tactile variations to achieve visual force. Recently, this long and extensive concentration on the material components of painting fueled his interest in addressing drawing, or mark making, as an important aspect of an artist’s intuitive process. The Drawing Project soon assumed the character of an ambitious campaign designed to energetically test gesture as an independent visual force.

Wimberley launched the endeavor by defining four formats: two sheet colors and two orientations. Next he pursued the project by focusing sequentially on investigating how his creative marks functioned in the horizontal format, first in black, then in white, and next moving on to study the issues generated by a vertical orientation, in black, then white. Each drawing began with a spontaneous triggering inspiration, which Wimberley considered important to his discovery process and hoped to save. He also felt each drawing should retain and feature the natural fluidity of the medium.

Developing the project as a series brings attention to the way progressive works can provide insights into the workings of the creative mind. There is an opportunity to note steps that seem fertile in producing new themes and variations on themes. At times variations become threads to observe later, as if the visual senses were following a narrative. A sensitivity emerges, too, towards every adjustment.

Once underway, Wimberley soon became intrigued with the way the viscosity of the medium itself could play a dynamic role. Trying India ink, and sometimes oil stick, oil pastel, watercolor or acrylic, he found he could invent compelling visual effects by testing the fluidity of his mark from its first contact with the paper to the point when the medium ran completely dry.

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Black Horizontal 43

Black Horizontal 16

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He became absorbed with studying the reactions to thick and thin, optical weight, denseness and openness, and allowed these characteristics to contribute to the sensuous quality of the drawing.

Decades of studio experience delving into every possibility for enriching the painting surface provided reinforcement as Wimberley recognized the contributions of semi-accidental variations in the medium. Spatial interactions emerging from the spontaneous gestures impressed him too, as did the optical speed of the color and the relative velocity of the linear mark. Everything became a source of power. Tones appeared to vibrate differently against black, and against white, and this triggered new ways to build on the emotional thrust of color.

Here Wimberley could combine his pigment color experience with the license for chance discovery that comes with a swift and spirited drawing exercise.

Most of the drawings seem to reflect one or more strategies.

In some Wimberley has used multiple strokes to form configurations covering the entire format. The impact can be quite striking. Black Horizontal 43, for example, is a complex scheme of reddish-brown circles and blue rectangular enclosures that suggest abbreviations for mental signals— recalling the way the evocative work of Paul Klee can trigger the imagination. In other configurations, like those appearing in Black Horizontal 16, strokes form a solid, pulsating unit with considerable presence and weight. Weight is also wimplied in the double beige bands that appear in Black Horizontal 39. Remarkable configurations within the group of black vertical sheets include a columnar scheme of triple linear repeats Black Vertical 21 and Black Vertical 22, which

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Black Horizontal 39

Black Vertical 21

Black Vertical 22

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Frank Wimberley

features sequential blue circular strokes nestling inside horizontal areas defined by additional blue strokes.

Black Horizontal 14

Black Horizontal 2

Black Vertical 14

White Horizontal 36

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One strategy that came into play piled strokes in a manner that achieved considerable density. In Black Horizontal 14, this density involves a multi-color linear maze generating hallucinatory optical and spatial sensations somewhat related to the linear characteristics found in Jackson Pollock’s art.

Several of the most successful examples of this approach allow the relationships between paths of color to shift and to generate perceptual uncertainties.

Wimberley’s gestural stroke is central in every instance. His marks have texture, weight, fluidity and direction. Delicate or muscular, subtle or bold, they establish content, mood and action. Less pressure produces a thinner line, while increased downward pressure produces thicker lines that sometimes open to reveal the paper surface. The directness of the drawing stroke makes it seem swifter than the gestural painting mark, and its intuitive quality contributes a personal element and a feeling of immediacy.

Line provides momentum, and establishes movement, speed, and tremendous visual energy. It animates Black Horizontal 2 with squiggly white oil stick action, and, in Black Vertical 14 it dashes into a crescendo-like piling up of five colors. Action can seem intense and vigorous, challenging the sheet format to contain the swift, high-velocity motion – a reminder that exploring line as visual force was one of Wimberley’s initial goals for The Drawing Project.

When strokes fall into rhythmic patterns, an amazing number of complexities develop. Small, meshlike strokes form a weblike configuration in White Horizontal 36, while

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White Vertical 1

Black Vertical 2

black and brown interlacing loose strokes coalesce into an assertive shape in White Vertical 1. In Black Vertical 2, the oil stick creates enclosures presenting various types of visual weight, while the six tones in Black Vertical 21 suggest separate shapes that overlap and jostle as they compete for spatial dominance. Multiple variations can make these modestly scaled sheets seem visually rich.

Although unintended,occasionally the abstract configurations trigger suggestions of recognizable forms or symbols. Even the thinning of an ink wash can imply sufficient volume to register subjectively as a specific form. For many, the oil stick marks will conjur a table in Black Horizontal 2, and a head in Black Vertical 15 and a jug in White Horizontal 20. Thick purple verticals in White Horizontal 29 appear to be poles supporting a diagonal string pulling a yellow cube. A vigorous “X” functions perceptually as a potent psychological force in White Horizontal 15.

Long considered as a wonderful avenue for unlocking the imagination, the drawing process has had a philosophical role in Surrealism’s desire to unleash the subconscious and in Abstract Expressionism’s interest in mining the authentic

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Black Vertical 15

White Horizontal 20

White Horizontal 29

White Horizontal 15

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Frank Wimberley

impulse. Wimberley’s drawing project is closer to a single, Concentrated effort to study creative freedom. It seems important that it dissolves boundaries between randomness and the gestural practices of an experienced painter. Some might regard the project as an unusual combination of discipline and Utopianism. In many ways, however, The Drawing Project links to what has propelled Wimberley’s long career and helped give it momentum: his interest in examining what it means to be an artist.

Phyllis Braff Essay copyright Phyllis Braff, 2010

Frank Wimberley Portrait by Donovan Nelson

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Frank Wimberley

FRANK WIMBERLEY TALKS ABOUT HIS DRAWING PROJECT… Throughout his long career Frank Wimberley has given careful consideration to new visual components that might expand his expressive range. He discussed some of his ideas with Phyllis Braff during several interviews that took place after his ambitious drawing project was completed.

Phyllis Braff: Even though there seems to be such swiftness and spontaneity in these drawings, the series format suggests a degree of planning to achieve a significant goal.

What was behind your concept for the series?

Frank Wimberley: I wanted to do something new. Even though my work background has not involved paper, I saw the possibilities. A series is an instrument that allows an artist to follow a particular piece with a “cousin” to it. It is a way of following a satisfying idea with another that seems called for. It is like going from one phase to another. There was never the feeling that I was working towards a finished drawing, but rather, following an idea. Keeping certain factors constant, like the standard 22 x 30-inch paper, in either black or white, became a kind of minimalism that allowed me to be sensitive to variations, a kind of sensibility that recalls Robert Ryman. I loved the fact that the drawing project had this minimal aspect.

PB: There are many variations in your approach to the drawing mark on these sheets.

Could you comment on your process as it relates to this series?

FW: I wanted the marks to be differentiated, and I wanted to explore and go at it in a different way. First, it was making a line on the blank surface. Then I would deal with it, sometimes by drawing through it, perhaps with oilstick or watercolor. Some bring in the nuances from making mistakes. Those instances were as if a ritual was interrupted and I was determined to make something out of it. This led to more vocabulary to work with. Also, there is a degree of spontaneity that I enjoy. It is the sense of allowing it to happen and trying to contribute, perhaps with another color line, and studying the effect. Something new was created with each sheet and if I was satisfied with a particular effect, that might become the beginning of another drawing at another point.

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PB: How did your decisions about materials affect your approach?

FW: I found ink very good to work with. Some of the drawings started with black, and I would let the pen trail away to its point of no ink. It seemed to be giving the pen a life of its own, and giving me a definite method.

PB: And what about your decisions with regard to color?

FW: In addition to the India ink, I decided to work with oilstick, some acrylic, watercolor and oil pastel. Half of the series would be on black paper, and half on white.

The black paper can be considered a color even before one begins to draw. It is theatrical, and brings out contrasts. On black, the color red stands out well, becoming brighter, deeper and richer. Red is probably the most seductive color.

The white paper seemed to soften everything.

PB: Your paintings have always seemed richly worked and deliberative. How does this drawing project relate to ideas you may have previously considered in the painting studio?

FW: While the oilstick is certainly new, there is a parallel in my painting in the way I am constantly trying to create new patterns. But in the paintings I will introduce things like sand. In painting, I always use tools to get what I want to happen. For example, after squeezing out acrylic from the tube I might spread the paint with a wood chisel, and I am conscious of the surface. I felt challenged with the drawings to establish and maintain a spontaneity that was more childlike.

PB: Many sheets in the drawing project give the impression that you have become absorbed with the way the oilstick handles.

FW: Yes, very much so. I love that softness. I let the stick drag across the tooth of the paper and let the stick make its own mark. Softness in my handling produces a flow, and this is a way of reinforcing the spontaneity. In some examples, once I

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Frank Wimberley

started with one stick I had sensed a need to cover the entire sheet and finish it that way. Depending on the manufacturer, some sticks handle almost like lipstick and take a long time to dry, or set. The French oilsticks take two or three days.

After the drying process, I could go back. I could combine two colors and create a pattern, and I could create different surfaces. I could produce a large ball of colors, and this led me to wonder if I was going against a code in drawing. But I sensed that creating many textures, and even scrawls, is acceptable if it makes a contribution to the work itself. This, I feel, is the nature of drawing.

PB: Could you comment further on the concept of letting the stick make its own mark?

FW: I was thinking of the mark as the spontaneous start to the work. This could suggest a train of thought that I would then follow.

PB: When lines seem to be interlocking, there is an amazing sense of compression.

FW: Sometimes I felt I had to do more to the minimal mark to make the particular work as convincing and compelling as I wanted, so I would continue further by going over the marks until I felt the drawing made an impact.

PB: Is this what led to a considerable amount of surface complexity?

FW: The oilstick, I found, will also create something on the surface, which was different from the soft, sinking in quality. I could create another idea by taking the oilstick and going over the line to create not only a smudge, but another surface. This was a time when I was learning the consistency of oilstick, and trying the challenge of using the oilstick in one layer over another. Sometimes it didn’t work out, but I was determined to make something happen. At the same time, I was drawing with ink and producing squiggly patterns, then going back over with white to break up the patterns. It could feel like I was pushing it, but the results were making sense.

PB: What role did you want to assign to color interactions?

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FW: I was trying to search for various combinations of colors that could produce surprises for me, although I was also trying not to get carried away by that approach.

If I found my hand was following certain patterns, I would take a color, such as blue or red and let the hand trail across the entire sheet, allowing that to be the statement.

PB: Was there any color symbolism involved?

FW: It’s difficult to stay away from yellow, the color of the sun. I started one work with a ball of yellow, a circular orb like the sun, but I try to keep from being specific.

Accidents might lead me to certain colors. For example, I happened to have a tube of green acrylic and I squeezed out a dab which I pulled down the page three or four times as if the lines were stems on flowers. Also, I discovered that beige oilstick combines well with red oilstick, and I liked the way I could make that move well across the surface.

PB: The drawings are basically abstract, but did you find yourself thinking about any possible cognitive meanings?

FW: I tried to avoid creating any images. In fact, I worked hard to put people at edge as to why I did them. There has to be a strange quality to drawings, and one shouldn’t look for flowers or trees. I move away from nature, but I feel with nature. Sometimes my vertical drawing keeps the marks from resembling anything. I’d rather think of the marks becoming their own symbols. It’s true, however, that the character of the initial “W” sometimes creeps in because my hand is so accustomed to that configuration.

PB: Thinking about the characteristics of the sign and mark, it’s tempting to ask about influences.

FW: I had seen and studied older artists, particularly Paul Klee. I had admired his delicacy, and subsequently thought, “If only you can learn that!” I wanted that kind of softness and delicacy to stand out on the paper.

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Frank Wimberley

PB: You are well known as a painter, often in a sizeable format. What personal impact has this drawing project had?

FW: It made me wonder just what a drawing really is. Pencil? Paint? I came to realize that drawing is an idea. One can use new materials as long as the piece has the effect of drawing: “Let your eye begin here, and travel…”

PHYLLIS BRAFF served as an art critic for The New York Times for several decades, and is a past-president of the International Association of Art Critics - USA section. She has written essays and reviews for international art publications. Other publications include Bibliography of Twentieth Century Art and Architecture, Bibliography of American Art and Architecture, and essays for a number of monographs and exhibition catalogues.

A former museum administrator and art curator, she has also taught art history and criticism.

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Frank Wimberley in his studio Photo by Jerry Jack

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Frank Wimberley en su estudio Fotografía de Jerry Jack

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Spanish

15

FRANK W. WIMBERLEY es un artista americano nacido en 1926 en Pleasantville, Nueva Jersey.

El interés de Wimberley en el arte surgió cuando cursaba la educación secundaria, y siguió desarrollándose durante su etapa en el ejército. Mientras asistía a la Universidad Howard en Washington, D.C.,Wimberley estudió con Lois Mailou Jones, James Lesesne Wells y James A. Porter. No obstante, fue después de su llegada a la ciudad de Nueva York, en 1947, cuando empezó a desarrollar su propia voz como artista. Aunque los 50 supusieron la transición del expresionismo abstracto al arte pop, para Wimberley este periodo de crecimiento tuvo su origen, parcialmente, en el descubrimiento de artistas abstractos contemporáneos como Al Loving, Gottlieb, Kline, Pollock, de Kooning y Motherwell. Después de ver las obras de Al Loving en una exposición monográfica en el Museo Whitney, en 1969, Wimberley describió la experiencia como “alentadora y estimulante”. Sus primeras exposiciones en la ciudad de Nueva York tuvieron lugar en las galerías Acts of Art, Kenkeleba, y June Kelly.

En los últimos cincuenta años, las obras deWimberley se han presentado en exposiciones colectivas e individuales en importantes museos y galerías de los Estados Unidos y del resto del mundo. Las obras de Wimberley forman parte de las colecciones privadas de Coca Cola Bottling Company, del David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora, del Islip Art Museum, de John Hoskins Estate, de PepsiCo, del Schomburg Center for Research in Black Culture, de Time Warner, y de la Galería de Arte de la Universidad de Yale. Las obras de Wimberley se han incluido en exposiciones conjuntas e individuales en la Galería Opalka (Albany) y en la Spanierman Modern Gallery (ciudad de Nueva York), y serán el tema central de una retrospectiva monográfica en el Guild Hall Museum (East Hampton, Nueva York) en 2012.

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INTRODUCCIÓN El Wimberley más revelador Conocí la obra de Frank Wimberley en la exposición Eastville Artists del Guild Hall Museum, en 1979. La obra de Wimberley, que ya llevaba una década exponiendo, era sólida y vibrante. He tenido la suerte de exponer sus obras varias veces en los 30 años sucesivos. Esto también me ha permitido disfrutar de la compañía de una persona que destaca por su carácter gentil y reflexivo.

Uno de los mayores privilegios de esta época fue montar la primera perspectiva sobre su obra completa en la Galería Opalka, en 2004. Al preparar esta exposición, pude confirmar que no estaba equivocado en mi percepción sobre la profundidad y la constante vitalidad de su inspiración. Ahora, 5 años más tarde, después de ver este grupo de obras, el vocabulario de Wimberley está más articulado y es más crudamente revelador que en cualquier colección anterior.

Al mirar las imágenes que contiene, las veo como la clave para entender sus obras pasadas y futuras. Soy cada vez más consciente de la gran variedad de rasgos intuitivos y de la constante fertilidad y audacia de la visión de Wimberley. En estas obras, podemos ver la escultura de los 80 y vestigios de la cerámica de las décadas anteriores. La inmediatez de las obras mixtas de los 70 y los 80 también se evoca con frecuencia. Ahí están los orígenes de los cuadros cuyas génesis están veladas por las sucesivas capas de pintura.

Aún más emocionantes son las pistas que nos ofrecen sobre las obras que están por venir. Éste es un grato acercamiento a la obra de un artista cuyas exploraciones se extienden ya a lo largo de décadas, y cuyos constantes ritmos de expresión transportan y capturan nuestras fantasías y nuestra imaginación.

Jim Richard Wilson, Director Galería Opalka The Sage Colleges, Albany, Nueva York

White Vertical 2 Fotografía de Gregory Costanzo

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Frank Wimberley

THE DRAWING PROJECT Frank Wimberley es célebre por sus cuadros abstractos, de una potente resonancia, que celebran el potencial del color para alcanzar matices expresivos y la capacidad de las variaciones táctiles para alcanzar una gran fuerza visual. Recientemente, esta prolongada y amplia concentración en los componentes materiales de la pintura ha alimentado su interés por el dibujo, o la creación libre, como un aspecto importante del proceso intuitivo del artista. The Drawing Project asumió pronto su condición de campaña ambiciosa, diseñada para probar con energía el papel de los gestos como una fuerza visual independiente.

Wimberley asumió este reto definiendo cuatro formatos: dos pliegos de colores distintos, y dos orientaciones. A continuación desarrolló el proyecto centrándose secuencialmente en investigar cómo funcionaban sus creativos trazos en el formato horizontal, primero en negro y luego en blanco, y a continuación pasando a estudiar las sensaciones que generaba una orientación vertical, en blanco, y después en negro.

Cada dibujo tiene su origen en una inspiración espontánea que Wimberley consideró importante para su proceso de descubrimiento, y que esperaba capturar.También creía que cada dibujo debía contener y manifestar la fluidez natural del medio.

El desarrollo del proyecto como una serie atrae la atención sobre el modo en que las obras progresivas pueden proporcionar una perspectiva sobre el funcionamiento de la mente creativa. Es una oportunidad para anotar los pasos que parecen fértiles para producir nuevos temas y variaciones sobre dichos temas. A veces, las variaciones se convierten en secuencias que hay que observar posteriormente, como si los sentidos visuales estuviesen siguiendo una narrativa. También emerge una cierta sensibilidad hacia cada ajuste.

Una vez iniciado el proceso, Wimberley quedó pronto intrigado por el modo en que la viscosidad del propio

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Black Horizontal 43

Black Horizontal 16

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medio podía desempeñar un papel dinámico. Al probar la tinta china, y a veces barritas de óleo, pastel, acuarelas o acrílicos, descubrió que podía crear atractivos efectos visuales probando la fluidez de su trazo desde el primer contacto con el papel hasta el momento en que el material se quedaba completamente seco.

Estudiar las reacciones ante el grosor y la finura, el peso óptico, la densidad y la apertura lo absorbió totalmente, y permitió que estas características contribuyeran al carácter sensual de los dibujos.

Décadas de experiencia en el estudio, sumergiéndose en todas las posibilidades que pudieran enriquecer la superficie de sus cuadros, reforzaron la determinación de Wimberley a medida que reconocía las contribuciones de las variaciones semiaccidentales en los materiales. Las interacciones espaciales originadas por los trazos espontáneos también lo impresionaron, al igual que la velocidad óptica del color y la velocidad relativa de las líneas. Todo se transformó en una fuente de energía. Los tonos parecían vibrar de forma diferente contra el negro y contra el blanco, generando nuevas formas de crear a través del impulso emocional del color. Wimberley podía combinar su experiencia con los pigmentos de color con las licencias para el descubrimiento accidental que le proporcionaba un ejercicio de dibujo rápido y enérgico.

La mayoría de los dibujos parecen reflejar una o varias estrategias. En algunos de ellos, Wimberley ha utilizado varios trazos para crear configuraciones que cubren todo el formato.

El impacto puede ser bastante intenso. Black Horizontal 43, por ejemplo, es un esquema complejo de círculos en tonos

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Black Horizontal 39

Black Vertical 21

Black Vertical 22

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Frank Wimberley

Black Horizontal 14

Black Horizontal 2

Black Vertical 14

marrón rojizo y cercos rectangulares azules, que sugieren abreviaturas para señales mentales, evocando el modo en que la sugerente obra de Paul Klee puede despertar la imaginación.

En otras configuraciones, como las de Black Horizontal 16, los trazos forman una unidad sólida y vibrante, con un peso y una presencia considerables. El peso también está implícito en las dobles bandas beis que aparecen en Black Horizontal 39. Las configuraciones más destacables dentro del grupo de láminas negras verticales incluyen esquemas en columnas con repeticiones lineales triples (Black Vertical 21 y Black Vertical 22), que muestran trazos circulares y secuenciales azules, anidadas en áreas horizontales definidas por trazos azules adicionales.

Una de sus estrategias consistió en apilar trazos hasta lograr una densidad considerable. En Black Horizontal 14, esta densidad sugiere un laberinto lineal multicolor que genera sensaciones ópticas y espaciales alucinatorias, en cierta forma relacionadas con las características lineales que se observan en el arte de Jackson Pollock. Varios de los ejemplos de más éxito de este enfoque permiten que las relaciones entre las vías de color cambien y generen incertidumbres perceptuales.

El trazo gestual de Wimberley es esencial en todos los casos.

Sus líneas tienen textura, peso, fluidez y sentido. Delicadas o musculares, sutiles o atrevidas, establecen el contenido, la atmósfera y la acción. Una menor presión produce una línea más fina, mientras que el aumento la presión descendente produce líneas más gruesas que, a veces, se abren para revelar la superficie del papel. La franqueza del trazo hace que parezca más veloz que el del grafismo gestual, y su carácter intuitivo contribuye a un elemento personal y a una sensación de inmediatez.

White Horizontal 36

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White Vertical 1

Black Vertical 2

La línea ofrece impulso y establece el movimiento, la velocidad y una tremenda energía visual. Anima Black Horizontal 2 proporcionando un serpenteante movimiento al óleo blanco, y en Black Vertical 14, se precipita a una combinación in crescendo de cinco colores. La acción puede parecer intensa y vigorosa, desafiando el formato de la lámina para contener un movimiento rápido y veloz, un recordatorio de que, explorar la línea como fuerza visual, era uno de los objetivos iniciales de Wimberley para The Drawing Project.

Cuando los trazos asumen patrones rítmicos, se desarrolla una cantidad increíble de complejidades. Los trazos pequeños con forma de malla forman una configuración parecida a una red en White Horizontal 36, mientras que en White Vertical 1 los trazos negros y marrones, sueltos y entrelazados, se unen para crear una forma asertiva. En Black Vertical 2, la barrita de óleo crea cercos que presentan distintos tipos de peso visual, mientras que los seis tonos de BlackVertical 21 sugieren formas independientes que se solapan y empujan mientras compiten por el dominio del espacio. Las múltiples variaciones hacen que estas láminas de escala modesta adquieran una gran riqueza visual.

Black Vertical 15

White Horizontal 20

White Horizontal 29

White Horizontal 15

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Frank Wimberley

Aunque de forma no intencionada, ocasionalmente las configuraciones abstractas sugieren formas o símbolos reconocibles. Incluso una tinta aguada puede insinuar lo suficiente un volumen para que lo detectemos subjetivamente como una forma concreta.

Para muchos, los trazos de las barritas de óleo sugieren una mesa en Black Horizontal 2, una cabeza en Black Vertical 15, y una jarra en White Horizontal 20. Las gruesas líneas púrpura verticales de White Horizontal 29 parecen un mástil sujetando una cadena diagonal que tira de un cubo amarillo. Una vigorosa “X” funciona perceptualmente como una potente fuerza psicológica en White Horizontal 15.

El proceso de dibujar se ha considerado, durante mucho tiempo, como una maravillosa vía para desatar la imaginación. El dibujo tiene un papel filosófico en el deseo del surrealismo por desatar el subconsciente, al igual que en el interés del expresionismo abstracto por minar el auténtico impulso. El proyecto de dibujo de Wimberley es lo más cercano a un esfuerzo unificado y concentrado para estudiar la libertad creativa.

Parece importante que disuelva los límites entre el azar y las prácticas gestuales de un artista experimentado.

Algunos considerarán este proyecto como una combinación inusual de disciplina y utopismo. Sin embargo, en muchos sentidos, The Drawing Project conecta con algo que ha propulsado la prolongada carrera de Wimberley y le ha dado impulso: su interés por examinar lo que significa ser artista.

Phyllis Braff Copyright del ensayo, Phyllis Braff 2010

Frank Wimberley Retrato de Donovan Nelson

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Frank Wimberley

FRANK WIMBERLEY HABLA SOBRE SU PROYECTO DE DIBUJO A lo largo de su prolongada carrera, Frank Wimberley ha reflexionado detenidamente sobre los nuevos componentes visuales que podrían ampliar el alcance de su expresividad. Debatió algunas de sus ideas con Phyllis Braff durante varias entrevistas que tuvieron lugar una vez finalizado su ambicioso proyecto de dibujo.

Phyllis Braff: Aunque parece existir un elevado grado de rapidez y espontaneidad en estos dibujos, el formato de la serie sugiere cierto grado de planificación para alcanzar una meta significativa. ¿Qué hay detrás de su concepto para la serie?

Frank Wimberley: Quería hacer algo nuevo. Aunque en mis trabajos pasados no he utilizado papel, veía sus posibilidades. Una serie es un instrumento que permite al artista seguir una obra concreta con otra relacionada. Es un modo de continuar una idea satisfactoria con otra que parece el complemento perfecto. Es como pasar de una fase a otra. Nunca tuve la sensación de estar trabajando para acabar un dibujo, siempre consistía en perseguir una idea. El mantener algunos factores constantes, como el papel estándar de 22 x 30” en blanco o negro, se convirtió en una especie de minimalismo que me permitió ser consciente de las variaciones, un tipo de sensibilidad que recuerda a Robert Ryman. Me encantaba el hecho de que el proyecto tuviera este aspecto minimalista.

PB: Hay muchas variaciones en su enfoque hacia el trazo en estas láminas. ¿Podría comentarnos su proceso en lo que respecta a esta serie?

FW: Quería que los trazos estuvieran diferenciados, quería explorarlos y abordarlos de distintas formas. Primero, hacía una línea sobre la superficie en blanco. Luego trabajaba sobre ella, a veces dibujando encima, quizá con barritas de óleo, o con acuarelas. Algunos matices fueron el resultado de errores cometidos. Esas ocasiones eran como si se interrumpiese un ritual y estuviera decidido a aprovechar todo lo posible, de todas formas. Esto me ayudó a adquirir más vocabulario con el que trabajar. También existe un cierto grado de espontaneidad del que me gusta disfrutar. Espontaneidad en el sentido de permitir que ocurran las cosas e intentar contribuir en ello, quizá con otra línea de color, y estudiar el efecto. Con cada

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lámina creaba algo nuevo. Y si estaba satisfecho con un efecto concreto, eso podía ser el principio de otro dibujo, en otro momento.

PB: ¿Cómo afectaron a su enfoque sus decisiones sobre el material?

FW: Descubrí que la tinta era una buena herramienta de trabajo. Empezaba algunas de las ilustraciones con el color negro y dejaba que la pluma se desplazara hasta quedarse sin tinta. Parecía que la pluma tenía vida propia, y eso me proporcionó un método definido.

PB: Y qué hay de sus decisiones respecto al color?

FW: Además de la tinta china, decidí trabajar con barritas de óleo, y con algunos acrílicos, acuarelas y pasteles. La mitad de la serie estaría en papel negro, y la otra mitad en papel blanco. El papel negro se puede considerar un color incluso antes de empezar a dibujar. Es teatral y produce contrastes. Sobre el negro, el color rojo destaca de forma excelente: es más brillante, profundo y rico. El rojo es, probablemente, el color más seductor. El papel blanco parece suavizarlo todo.

PB: Sus obras siempre han parecido muy trabajadas y deliberadas. ¿Cómo se relaciona este proyecto de dibujo con las ideas que ha examinado anteriormente en sus obras pictóricas?

FW: Aunque las barritas de óleo son ciertamente una novedad, existe cierto paralelismo entre mis obras en el modo en el que intento, constantemente, crear nuevos patrones. Pero al pintar introduzco cosas como la arena. Al pintar siempre utilizo herramientas para conseguir lo que quiero que ocurra. Por ejemplo, después de estrujar el acrílico del tubo, puedo dispersar la pintura con un cincel de madera, y soy consciente de la superficie. Con los dibujos sentí el desafío de establecer y mantener una espontaneidad más parecida a la inocencia de los niños.

PB: Muchas láminas del proyecto de dibujo dan la impresión de que ha quedado absorto con el modo en el que se comportan las barritas de óleo.

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Frank Wimberley

FW: Sí, totalmente. Me encanta su suavidad. Permitía que la barrita se arrastrase por el papel y dejase su propio trazo. Su textura suave produce cierto flujo que es un modo de reforzar la espontaneidad. En algunos ejemplos, una vez que empezaba con una barrita, tenía la necesidad de cubrir la hoja completa y acabarla de ese modo. Dependiendo del fabricante, la textura de algunas barritas es como la de un lápiz de labios, y tardan mucho en secarse o fijarse. Las barritas francesas tardan dos o tres días. Después del proceso de secado, podía volver a trabajar sobre ellas. Podía combinar dos colores y crear un patrón, o crear diferentes superficies.

Podía producir un gran baile de colores, y esto me llevó a preguntarme si estaba vulnerando algún código del dibujo. Pero sentía que crear muchas texturas, incluso garabatos, es aceptable si esto contribuye a la propia obra. Según lo veo, ésta es la auténtica naturaleza del dibujo.

PB: ¿Podría comentar algo más sobre la idea de dejar que la barrita deje su propio trazo?

FW: Pensaba en el trazo como el inicio espontáneo de la obra. Sugería un tren de pensamiento que luego yo podía seguir.

PB: Cuando las líneas se entrelazan hay una increíble sensación de compresión.

FW: A veces sentía que tenía que hacer algo más que un trazo minimalista para que la obra fuese tan convincente y absorbente como yo quería, así que continuaba trabajando sobre las líneas hasta que sentía que el dibujo lograba causar un cierto impacto.

PB: ¿Es esto lo que lleva a las obras con mayor complejidad en la superficie?

FW: Según descubrí, la barrita de óleo también crea algo sobre la superficie, algo diferente de su carácter implícito de suavidad y profundidad. Podía crear otra idea tomando la barrita y volviendo sobre la línea para crear no sólo una mancha, sino otra superficie. En ese momento estaba descubriendo la consistencia de las barritas de óleo, y probando el desafío de utilizarlas en una capa sobre otra.

A veces no funcionaba, pero estaba decidido a lograr que algo ocurriese. Al mismo

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tiempo, dibujaba con tinta y producía patrones garabateados, y luego volvía con el blanco para romper esos patrones. Sentía que estaba forzando los límites, pero los resultados tenían sentido.

PB: ¿Qué función quería asignar a las interacciones entre los colores?

FW: Intentaba buscar diversas combinaciones de colores que lograran sorprenderme, aunque también intentaba no dejarme llevar por ese enfoque. Si notaba que mi mano seguía ciertos patrones, tomaba un color, por ejemplo azul, o rojo, y dejaba que mi mano se moviese por toda la hoja, haciendo que esa fuera su forma de expresarse.

PB: ¿Hay algún simbolismo de color implicado en el proceso?

FW: Me resulta difícil alejarme del amarillo, el color del sol. Empecé una obra con una bola amarilla, un orbe circular como el sol, pero intento no ser demasiado concreto. Puedo llegar a ciertos colores de forma accidental. Por ejemplo, resulta que tenía un tubo de acrílico verde y saqué un poco para aplicarlo sobre la página tres o cuatro veces, como si las líneas fueran tallos de flores. También descubrí que las barritas de óleo beis combinaban bien con las rojas, y me gustaba el modo en que lograba moverlas con fluidez por la superficie.

PB: Los dibujos son básicamente abstractos, pero, ¿se sorprendió a sí mismo pensando en posibles significados cognitivos?

FW: Intentaba evitar crear imágenes concretas. De hecho, he puesto mucho esfuerzo en que la gente se pregunte por qué mis dibujos son como son. Los dibujos tienen que ser extraños hasta cierto punto, y no hay que buscar en ellos flores o árboles. Me alejo de la naturaleza, pero siento que estoy con la naturaleza.

A veces mis dibujos verticales impiden que los trazos se parezcan a algo. Prefiero pensar que las líneas se convierten en símbolos por derecho propio. No obstante, es verdad que a veces mi inicial, “W”, se cuela inadvertidamente, porque mi mano está muy habituada a ese trazo concreto.

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Frank Wimberley

PB: Si pensamos en las características de los signos y trazos, resulta tentador preguntar por sus influencias.

FW: He observado y estudiado a artistas anteriores, especialmente a Paul Klee.

Admiraba su delicadeza, y pensaba “¡Ojalá pudiera aprender eso!”. Quería que ese tipo de suavidad y delicadeza destacaran sobre el papel.

PB: Es muy conocido como artista, especialmente por sus obras en formatos de gran tamaño. ¿Qué impacto personal ha tenido este proyecto de dibujo?

FW: Me ha hecho preguntarme qué es realmente un dibujo. ¿Lápiz? ¿Pintura? He llegado a darme cuenta de que un dibujo es una idea. Podemos utilizar nuevos materiales siempre que la obra tenga el efecto del dibujo: “Deja que tus ojos empiecen aquí, y viajen..”

PHYLLIS BRAFF ha sido crítica de arte del New York Times y presidenta de la sección estadounidense de la Asociación Internacional de Críticos de Arte. Ha escrito ensayos y críticas para varias publicaciones internacionales dedicadas al arte. Algunas de sus publicaciones son Bibliography of Twentieth Century Art and Architecture, Bibliography of American Art and Architecture, así como ensayos para diversas monografías y catálogos de exposiciones. Además de administradora y conservadora en museos, también ha sido profesora de Crítica e Historia del Arte.

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Frank Wimberley en su estudio Fotografía de Jerry Jack

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Frank Wimberley dans son studio Photo par Jerry Jack

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French

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FRANK W. WIMBERLEY est un artiste américain né à Pleasantville dans l’état du New Jersey en 1926. Son intérêt pour l’art débuta pendant ses années au lycée et continua à se développer pendant son service militaire. Au cours de ses études universitaires à Washington D.C., il étudia avec Lois Mailou Jones, James Lesesne Wells et James A. Porter. Toutefois, ce fut lors de son arrivée à New York en 1947 qu’il débuta réellement sa carrière d’artiste. Bien que les années 50 virent la transition de l’expressionnisme abstrait vers le pop art, cette période de développement chez Wimberley fut enclenchée en partie par la découverte de peintres abstraits contemporains, comme Al Loving, Gottlieb, Kline, Pollock, de Kooning et Motherwell. Après s’être rendu à une exposition solo de l’œuvre d’Al Loving au Whitney Museum en 1969,Wimberley décrit l’expérience « encourageante et stimulante ». Sa première exposition dans les galeries de New York fut avec la Galerie Acts of Art, la Galerie Kenkeleba et la Galerie June Kelly.

Pendant les cinquante dernières années, les œuvres de Wimberley ont été présentées lors d’expositions de groupe ou solo, dans des musées ou des galeries renommées, aux Etats-Unis mais aussi dans d’autres pays. Ses travaux font partie de la collection privée de Coca Cola Bottling Company, du centre d’étude David C. Driskell sur les arts visuels et la culture des afro-américains et la diaspora africaine, du musée Islip Art, du John Hoskins Estate, de PepsiCo, du Centre Schomburg pour les recherches sur la culture noire, de Time Warner, et de la galerie d’art de l’université de Yale. Ses œuvres ont été présentrées dans des expositions de groupe ou solo à la Galerie Opalka, Albany, état de New York, à la Modern Spanierman Gallery de New York et sera le sujet d’une rétrospective dédiée au Guild Hall Museum à East Hampton, New York, en 2012.

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AVANT-PROPOS La révélation de Wimberley J’ai approché l’œuvre de Frank Wimberley pour la première fois à l’exposition Eastville Artists au Guild Hall Museum en 1979. Après seulement dix ans de mise en exposition, son œuvre m’est apparue comme marquée et vivante. Je m’estime chanceux d’avoir pu promouvoir son travail à plusieurs reprises lors des trente années qui ont suivi. Ceci m’a permis de passer du temps avec cet individu à la fois affable et réfléchi.

L’un des privilèges principaux qui m’auront été donnés fut d’organiser le premier panorama de l’œuvre complète de Wimberley à la Galerie Opalka en 2004. C’est lors de la préparation de cet événement que je pris conscience de la profondeur et de la vitalité perpétuelle de son inspiration. Aujourd’hui, 5 ans plus tard, à la vue de son travail, il apparaît que le vocabulaire de Wimberley est travaillé et révélé plus crûment que dans les précédentes présentations de ses œuvres.

Les images contenues ici m’apparaissent comme une clé de travaux passés et à venir. Je deviens plus alerte à la variété de ses traits mais aussi à la fertilité continue et l’audace de la vision de Wimberley. Dans ces travaux, on peut y voir des sculptures des années 80 aussi bien que des vestiges de céramiques des précédentes décennies. L’immédiateté du mélange de supports d’œuvres des années 70 et 80 est souvent évoquée. On y trouve les origines de peintures dont l’initiation est voilée par la peinture et le brossage. Le plus excitant se trouve dans les indices de travaux à venir. Pour conclure, c’est une visite de mise en bouche dans l’œuvre d’un artiste dont les explorations ont déjà parcouru le temps et dont les continuels rythmes d’expression portent et piquent notre curiosité autant que notre imagination.

Jim Richard Wilson, directeur Galerie Opalka The Sage Colleges, Albany, état de New York

White Vertical 2 Photo par Gregory Costanzo

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Frank Wimberley

THE DRAWING PROJECT Frank Wimberley est connu essentiellement pour ses peintures abstraites résonant avec force, mettant en scène le potentiel des couleurs amenant à des nuances expressives et celui de variations tactiles donnant une puissance visuelle. Récemment, cette concentration longue et complète sur les matières a attisé son intérêt envers le dessin, en tant qu’aspect important du développement intuitif d’un artiste. Le Drawing Project a rapidement pris la forme d’une ambitieuse campagne destinée à tester le geste comme impact visuel indépendant.

Wimberley a lancé cette vague en définissant quatre formats: deux couleurs de feuille et deux orientations. Ensuite, il poursuivit le projet en se concentrant en premier lieu sur le fonctionnement de ses traits créatifs en format horizontal, d’abord en noir puis en blanc, et ensuite continua en étudiant les problèmes générés par une orientation verticale, en noir puis en blanc. Chaque dessin débutait par un déclic d’inspiration spontanée, que Wimberley considérait important dans son processus de découverte, et qu’il espérait conserver. Il pensait également que chaque dessin devait à la fois retenir et utiliser la fluidité naturelle de son support.

Développer le projet autour d’une série met l’accent sur le fait que des travaux progressifs peuvent apporter de la hauteur à l’esprit créatif. Cela donne l’occasion de marquer les avancées qui semblent fertiles dans la production et la variation des thèmes. A certains moments, les variations deviennent des ensembles observables ultérieurement, comme si les sens visuels suivaient un fil narratif. Une sensibilité émerge également avec chaque ajustement.

Autrefois sous-jacente, Wimberley s’interrogea sur la part de dynamique impliquée par la viscosité du support. En essayant l’encre de Chine, parfois les bâtons à l’huile, les pastels à l’huile, les aquarelles ou l’acrylique, il comprit qu’il pouvait inventer des effets

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Black Horizontal 43

Black Horizontal 16

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visuels percutants en testant la fluidité de son trait depuis le premier contact avec le papier jusqu’au séchage total du support.

Il devint absorbé dans l’étude des réactions avec l’épais et le mince, le poids visuel, la densité et l’ouverture, et permit à ces caractéristiques de contribuer à la sensualité du dessin.

Des décennies d’expérience en studio à fouiller chaque possibilité afin d’enrichir le subjectile renforcèrent la vision de Wimberley, qui reconnut les contributions des variations semi-accidentelles sur le support. Il fut aussi impressionné par l’impact de gestes spontanés sur les interactions spatiales, tout comme par la rapidité à capter la couleur et la relative vélocité des traits linéaires. Tout devint une source de puissance. Les tonalités lui apparurent comme vibrant différemment avec le noir et avec le blanc. Ceci lui permit de développer de nouvelles façons de pénétrer la puissance émotionnelle de la couleur. Ici, Wimberley pouvait combiner ses expérimentations de pigments avec sa rapidité et sa vivacité d’exécution, pouvant amener à des découvertes.

La plupart des dessins semblent refléter une ou plusieurs stratégies. Dans certains, Wimberley utilisa plusieurs traits afin de créer des configurations couvrant le format dans son intégralité. L’impact peut être réellement fort. Black Horizontal 43, par exemple, est un système complexe réalisé autour de cercles rouge-brun et d’enclos bleus rectangulaires qui suggèrent des abréviations de signaux mentaux – rappelant la façon qu’ont les œuvres évocatrices de Paul Klee d’attiser l’imagination. Dans d’autres configurations, comme celles apparaissant dans Black Horizontal 16, les traits forment

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Black Horizontal 39

Black Vertical 21

Black Vertical 22

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Frank Wimberley

Black Horizontal 14

Black Horizontal 2

Black Vertical 14

White Horizontal 36

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un ensemble solide, vibrant, détenant une présence et un poids considérables. Le poids est également impliqué par les doubles bandes beiges présentes dans Black Horizontal 39. De remarquables configurations au sein du groupe des feuilles noires en vertical incluent un schéma triple linéaire en colonne qui rappelle Black Vertical 21 et Black Vertical 22, intégrant des séquences de traits bleus circulaires se nichant dans des zones horizontales délimitées par des traits bleus additionnels.

Une stratégie mise en scène impliquait d’empiler les traits d’une manière engendrant une profonde densité. Dans Black Horizontal 14, cette densité demande un labyrinthe linéaire multicolore générant des illusions d’optique et des sensations spatiales liées aux caractéristiques linéaires retrouvées dans l’art de Jackson Pollock. Plusieurs des exemples les plus réussis de cette approche autorisent à modifier les relations entre les passages de couleur pour engendrer des incertitudes perceptuelles.

La gestuelle du trait de Wimberley est centrale dans toute son œuvre. Ses traits possèdent texture, poids, fluidité et direction. Délicats ou musclés, subtils ou grossiers, ils établissent le contenu, l’humeur et l’action. Moins de pression produit une ligne fine, alors qu’une pression maintenue produit une ligne plus épaisse, qui s’ouvrira parfois en révélant le papier. La droiture de ses traits leur donne une impression de rapidité comparée à la peinture gestuelle, et ses qualités intrinsèques amènent un élément personnel et une impression d’immédiateté.

La ligne donne de l’élan, établit le mouvement, la vitesse et une importante énergie visuelle. Elle anime Black Horizontal 2 avec d’agiles gribouillis de bâton à l’huile, et dans Black

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White Vertical 1

Black Vertical 2

Black Vertical 15

Horizontal 14, elle court en un amas crescendo de 5 couleurs.

L’action peut sembler intense, vigoureuse, défiant le format du support pour contenir le mouvement léger et rapide, rappelant que l’exploration de ligne en tant que force visuelle était un des objectifs initiatiques de Wimberley pour le Drawing Project.

White Horizontal 20

Quand les traits tombent dans des motifs rythmiques, de nombreuses complexités se dégagent. De petits traits, comme un maillage, forment une configuration horizontale dans White Horizontal 36, les traits filants entrelacés noirs et bruns se fondent en une forme assurée dans White Vertical 1. Dans Black Vertical 2, le bâton à l’huile crée des enclos caractérisés par différents types de poids visuel, alors que les six tonalités dans Black Vertical 21 suggèrent des formes séparées qui se chevauchent et se bousculent, en compétition pour la dominance spatiale. Ces multiples variations peuvent apporter une richesse visuelle à ces feuilles de taille modeste.

Bien qu’involontaires, les configurations abstraites suggèrent parfois des formes ou des symboles reconnaissables. Même la simple dilution d’un sumi-e peut impliquer un volume suffisant qui représentera subjectivement une forme

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White Horizontal 29

White Horizontal 15

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spécifique. Pour beaucoup, les traits du bâton à l’huile évoquent une table dans Black Horizontal 2, une tête dans Black Vertical 15 et une jarre dans White Horizontal 29.

D’épaisses lignes verticales violettes ressemblent à des poteaux supportant une chaîne en diagonale soulevant un cube jaune. Un puissant « X » engendre la perception d’une puissante force psychologique dans White Horizontal 15.

Longtemps considéré comme une formidable avenue aidant à réveiller l’imagination, le dessin a eu un rôle philosophique dans le désir du surréalisme de libérer le subconscient et dans l’intérêt qu’a l’expressionisme abstrait d’extraire l’impulsion authentique.

Le projet de Wimberley est plus proche d’un effort concentré sur l’étude de la liberté créatrice. Et il est important que cela permette de dissoudre les frontières entre l’aléatoire et les pratiques gestuelles d’un peintre expérimenté.

Certains regarderont peut-être le projet comme une combinaison peu banale de discipline et d’utopianisme.

Toutefois, le Drawing Project, de plusieurs façons, établit le lien entre ce qui a propulsé la longue carrière de Wimberley et ce qui l’a aidé à conserver son élan : son intérêt à comprendre le sens d’être un artiste.

Phyllis Braff Essai de Phyllis Braff 2010 - tous droits réservés

Frank Wimberley Portrait par Donovan Nelson

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FRANK WIMBERLEY PARLE DE SON DRAWING PROJECT… Pendant sa longue carrière, Frank Wimberley a accordé une considération particulière aux nouveaux composants visuels susceptibles d’étendre son périmètre expressif. Il argumenta quelques-unes de ces idées avec Phyllis Braff pendant plusieurs interviews, lesquelles eurent lieu une fois son ambitieux projet arrivé à son terme.

Phyllis Braff: Même avec toute cette précipitation et spontanéité apparentes dans ces dessins, la déclinaison sous forme de série suggère un degré de planification en vue d’atteindre un objectif important. Que se cachait derrière votre conception de cette série?

Frank Wimberley: J’ai voulu faire quelque chose de nouveau. Même si mes travaux passés n’avaient pas impliqué l’utilisation de papier, j’y ai vu de nouvelles possibilités.

Une série est un instrument permettant à un artiste de faire suivre une œuvre par sa « cousine ». C’est une façon de donner suite à une idée satisfaisante par une autre qui lui fera écho. C’est comme passer d’une phase à une autre. Je n’ai jamais eu l’impression de travailler sur une œuvre complète, mais plutôt de suivre une idée. Stabiliser certains facteurs, comme le papier de format standard 22 x 30 pouces, en noir ou en blanc, devint une sorte de minimalisme qui me permit d’affiner ma sensibilité aux variations, une sorte de sensibilité qui peut rappeler Robert Ryman. J’ai adoré le fait de pouvoir conserver cet aspect minimaliste dans ce projet.

PB: On peut voir de nombreuses variations dans votre approche du trait sur ces feuilles.

Pouvez-vous nous parler de votre manière de procéder pour cette série?

FW: J’ai voulu que les traits soient différentiés, et j’ai aussi voulu explorer et m’essayer à une méthode différente. En premier lieu, il s’agissait de tracer une ligne sur un support vierge. Ensuite, je la travaillerais, parfois en la traversant, parfois avec un bâton à l’huile ou à l’aquarelle.

Certains mettaient en relief les nuances liées aux erreurs commises. Ces exemples étaient comme un rituel interrompu et j’étais déterminé à en faire quelque chose.

Cela m’a conduit à un plus grand vocabulaire avec lequel m’exprimer. J’ai également pris du plaisir avec ce degré de spontanéité. C’est cette impression de laisser

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quelque chose se produire tout en essayant d’y contribuer, avec une autre ligne de couleur par exemple, puis d’en étudier l’effet. Une production accouchait de chaque feuille et lorsque j’étais satisfait d’un effet particulier, cela pouvait donner lieu à un nouveau dessin.

PB: Comment vos décisions sur les matières ont affecté votre approche?

FW: J’ai beaucoup apprécié travailler à l’encre. Certains dessins commençaient avec du noir, et je continuais la course du pinceau jusqu’à épuisement de l’encre. Il m’a semblé que ceci donnait vie au pinceau lui-même, tout en me fournissant une méthode précise.

PB: Et qu’en est-il sur la question de vos décisions par rapport à la couleur?

FW: En plus de l’encre de Chine, j’avais décidé de travailler avec le bâton à l’huile, l’acrylique, l’aquarelle, et les pastels à l’huile. La moitié de la série serait sur du papier noir, l’autre sur du papier blanc.

Le noir du papier peut être considéré comme une couleur avant même de le travailler. C’est théâtral et relève les contrastes. Sur le noir, la couleur rouge se démarque bien, devient plus vive, plus profonde et plus riche. Le rouge est probablement la couleur la plus séduisante.

Le papier blanc me paraissait tout adoucir.

PB : Vos peintures ont toujours semblé travaillées en détail et délibératives. Comment ce projet de dessin s’articule avec des idées que vous aviez peut-être déjà considérées en studio?

FW: Alors que l’usage du bâton à l’huile est récent, il y a un parallèle à faire avec mon travail dans ma constante recherche de nouveaux motifs. Mais dans les peintures, je pourrais intégrer des éléments comme du sable. En peignant, j’utilise toujours des outils pour arriver à rendre l’effet que je désire.

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Par exemple, après avoir éjecté l’acrylique de son tube, je pourrais l’étaler avec un ciseau en bois afin de prendre conscience de la surface travaillée. Je me suis senti défié par les dessins de réussir à établir et conserver une spontanéité enfantine.

PB : Plusieurs feuilles du projet donnent l’impression que vous avez été absorbé par la manière de gérer le bâton à l’huile.

FW: Oui, c’est vrai. J’adore sa délicatesse. Je laisse le bâton frotter contre la rugosité du papier et je le laisse faire son propre trait. Le manier avec délicatesse produit un flot, ce qui me paraît être une façon de renforcer la spontanéité. Dans quelques exemples, je commençais avec un bâton, et ressentais le besoin de couvrir l’intégralité de la feuille et d’en finir ainsi. Selon le fabricant, certains bâtons se manient comme des rouges à lèvres et mettent du temps avant de sécher ou de se figer. Les bâtons à l’huile français prennent deux ou trois jours.

Après avoir séché, je pouvais y revenir. Je pouvais alors combiner deux couleurs pour former un motif et créer de nouvelles surfaces. Je pouvais produire une large balle de couleurs, ceci m’amenant à me demander si j’allais à l’encontre d’un code en dessin. Mais je sentais que la création de nombreuses textures, et même des gribouillages, est acceptable si cela apporte une contribution à l’œuvre elle-même.

Ceci, je pense, est la nature-même du dessin.

PB: Pouvez-vous développer plus en détail le concept de laisser le bâton faire son propre trait?

FW: Je voyais le trait comme le début spontané d’une œuvre. Ceci pouvait m’emmener sur un train de pensée que je suivrais alors.

PB: Quand les lignes semblent s’imbriquer, il y a une fabuleuse impression de compression.

FW: J’ai parfois senti qu’il était nécessaire d’aller au-delà du trait minimal pour rendre l’œuvre aussi convaincante et percutante que je la souhaitais. Alors, j’allais plus loin en repassant sur les traits jusqu’à sentir l’impact du dessin.

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PB: Cet élément vous a-t-il amené vers une complexité dans la gestion des surfaces?

FW: J’ai trouvé que le bâton permettait aussi de créer quelque chose sur le subjectile, donnait des caractéristiques différente à la fois en douceur et en pénétration. Je pouvais créer une autre idée en prenant le bâton à l’huile et repassant sur une ligne pour créer non seulement une tache, mais aussi une nouvelle surface. Je l’ai réalisé alors que je prenais conscience de la consistance du bâton à l’huile, en essayant d’utiliser le bâton d’une couche sur une autre. Parfois, ça ne marchait pas, mais j’étais déterminé à en faire quelque chose. En même temps, je dessinais à l’encre et produisais des gribouillis de motifs, avant d’utiliser de nouveau le blanc pour casser ces mêmes motifs. On pouvait croire que j’exagérais, mais les résultats prenaient du sens.

PB: Quel rôle avez-vous assigné aux interactions de couleurs?

FW: J’essayais de chercher de nouvelles combinaisons de couleurs qui pourraient me surprendre, tout en évitant d’être emporté par cette approche.

Si je réalisais que ma main suivait certaines structures, je prenais alors une couleur, comme le bleu ou le rouge, et laissais ma main traverser la feuille entière, lui donnant un rôle prépondérant.

PB: Y avait-il un symbolisme de couleur impliqué?

FW: Il est difficile d’omettre le jaune, la couleur du soleil. J’ai déjà commencé un dessin avec une balle jaune, un orbe rond comme le soleil, mais j’essaie de rester en dehors de l’explicite. Des accidents peuvent m’amener à l’usage de certaines couleurs. Par exemple, il m’est arrivé de faire sortir un peu de peinture acrylique verte d’un tube, d’en tirer des traits vers le bas trois ou quatre fois, comme si les lignes formaient des tiges de fleurs. J’ai aussi découvert que le bâton à l’huile beige se combinait bien avec le rouge, et j’ai aimé le mouvement que je pouvais leur appliquer sur le support.

PB: A la base, vos dessins sont abstraits, mais vous êtes-vous déjà pris à y voir des significations cognitives?

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FW: J’ai évité de créer des images. En fait, j’ai travaillé dur pour provoquer les gens sur la raison de mes dessins. Ils doivent attiser la curiosité, et on ne devrait pas y chercher des fleurs ou des arbres. Je m’écarte de la nature, bien que je me sente proche d’elle. Parfois, mon dessin vertical conserve des traits empêchant d’y voir quelque chose de ressemblant. Je préfère voir les traits devenir eux-mêmes des symboles. C’est toutefois vrai qu’on peut parfois distinguer la lettre « W », ma main étant si habituée à cette configuration.

PB: En parlant des caractéristiques des signes et des traits, je suis tentée de vous demander de nous parler de vos influences.

FW: J’avais vu et étudié de plus anciens artistes, Paul Klee en particulier. J’ai admiré sa délicatesse, et me suis mis à penser : « Si seulement tu pouvais en faire autant ! ».

J’ai toujours voulu donner la part belle à ce genre de douceur et de délicatesse sur le papier.

PB: Vous êtes réputé en tant que peintre, souvent sur des formats assez importants.

Quel fut l’impact de ce projet sur vous-même?

FW: Cela m’a fait réfléchir au sens-même d’un dessin. Crayon? Peinture? Je suis arrivé à la conclusion que la peinture vient d’une idée. On peut utiliser de nouvelles matières, aussi longtemps que le résultat produit l’effet d’un dessin : « Poser son œil ici, puis le laisser se promener… »

PHYLLIS BRAFF a été critique d’art pour le New York Times, et ancienne présidente de l’Association Internationale des Critiques d’Art – section américaine. Elle a écrit des essais et des critiques pour des publications d’art internationales. Ses autres publications incluent Bibliography of Twentieth Century Art and Architecture, Bibliography of American Art and Architecture et des essais sur de nombreuses monographies et des catalogues d’exposition. Ancienne administratrice de musée, conservatrice d’art, elle a également enseigné l’histoire de l’art et la critique.

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Frank Wimberley dans son studio Photo par Jerry Jack

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The Drawing Project

Black Vertical 1 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

Black Vertical 2 Oil stick, Ink on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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Frank Wimberley

The Drawing Project

Black Vertical 3 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

Black Vertical 4 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

Black Vertical 5 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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Frank Wimberley

The Drawing Project

Black Vertical 6 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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Frank Wimberley

The Drawing Project

Black Vertical 7 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

Black Vertical 8 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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Frank Wimberley

The Drawing Project

Black Vertical 9 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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Frank Wimberley

The Drawing Project

Black Vertical 10 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

Black Vertical 11 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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Frank Wimberley

The Drawing Project

Black Vertical 12 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

Black Vertical 13 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

Black Vertical 14 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

Black Vertical 15 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

Black Vertical 16 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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Frank Wimberley

The Drawing Project

Black Vertical 17 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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Frank Wimberley

The Drawing Project

Black Vertical 18 Oil stick, on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

Black Vertical 19 Oil stick, Oil Pastel on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

Black Vertical 20 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

Black Vertical 21 Oil stick, Pastel on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

Black Vertical 22 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

Black Vertical 23 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

Black Vertical 24 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

Black Vertical 25 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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Frank Wimberley

The Drawing Project

White Vertical 1 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

White Vertical 2 Oil stick, Ink on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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Frank Wimberley

The Drawing Project

White Vertical 3 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

White Vertical 4 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

White Vertical 5 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

White Vertical 6 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

White Vertical 7 Oil stick, Ink, Acrylic on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

White Vertical 8 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

White Vertical 9 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

White Vertical 10 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

White Vertical 11 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

White Vertical 12 Oil stick, Acrylic on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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The Drawing Project

White Vertical 13 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

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11/20/17 10:46 PM

122

Frank Wimberley

The Drawing Project

White Vertical 14 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

FWimberley_V-Plates_046-145_Final.indd 122

11/20/17 10:46 PM

FWimberley_V-Plates_046-145_Final.indd 123

11/20/17 10:46 PM

124

Frank Wimberley

The Drawing Project

White Vertical 15 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

FWimberley_V-Plates_046-145_Final.indd 124

11/20/17 10:46 PM

FWimberley_V-Plates_046-145_Final.indd 125

11/20/17 10:46 PM

126

Frank Wimberley

The Drawing Project

White Vertical 16 Oil stick, Ink on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

FWimberley_V-Plates_046-145_Final.indd 126

11/20/17 10:46 PM

FWimberley_V-Plates_046-145_Final.indd 127

11/20/17 10:47 PM

128

Frank Wimberley

The Drawing Project

White Vertical 17 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

FWimberley_V-Plates_046-145_Final.indd 128

11/20/17 10:47 PM

FWimberley_V-Plates_046-145_Final.indd 129

11/20/17 10:47 PM

130

Frank Wimberley

The Drawing Project

White Vertical 18 Oil stick, Acrylic on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

FWimberley_V-Plates_046-145_Final.indd 130

11/20/17 10:47 PM

FWimberley_V-Plates_046-145_Final.indd 131

11/20/17 10:47 PM

132

Frank Wimberley

The Drawing Project

White Vertical 19 Oil stick, Ink, Acrylic on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

FWimberley_V-Plates_046-145_Final.indd 132

11/20/17 10:47 PM

FWimberley_V-Plates_046-145_Final.indd 133

11/20/17 10:47 PM

134

Frank Wimberley

The Drawing Project

White Vertical 20 Oil stick, Ink, Acrylic on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

FWimberley_V-Plates_046-145_Final.indd 134

11/20/17 10:47 PM

FWimberley_V-Plates_046-145_Final.indd 135

11/20/17 10:47 PM

136

Frank Wimberley

The Drawing Project

White Vertical 21 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

FWimberley_V-Plates_046-145_Final.indd 136

11/20/17 10:47 PM

FWimberley_V-Plates_046-145_Final.indd 137

11/20/17 10:47 PM

138

Frank Wimberley

The Drawing Project

White Vertical 22 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

FWimberley_V-Plates_046-145_Final.indd 138

11/20/17 10:47 PM

FWimberley_V-Plates_046-145_Final.indd 139

11/20/17 10:47 PM

140

Frank Wimberley

The Drawing Project

White Vertical 23 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

FWimberley_V-Plates_046-145_Final.indd 140

11/20/17 10:47 PM

FWimberley_V-Plates_046-145_Final.indd 141

11/20/17 10:47 PM

142

Frank Wimberley

The Drawing Project

White Vertical 24 Oil stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

FWimberley_V-Plates_046-145_Final.indd 142

11/20/17 10:47 PM

FWimberley_V-Plates_046-145_Final.indd 143

11/20/17 10:47 PM

144

Frank Wimberley

The Drawing Project

White Vertical 25 Oil stick, Acrylic on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

FWimberley_V-Plates_046-145_Final.indd 144

11/20/17 10:47 PM

FWimberley_V-Plates_046-145_Final.indd 145

11/20/17 10:47 PM

146

Frank Wimberley

The Drawing Project

Black Horizontal 1 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 146

11/20/17 9:18 PM

FWimberley_H-Plates_146-343_Final.indd 147

11/20/17 9:18 PM

148

Frank Wimberley

The Drawing Project

Black Horizontal 2 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 148

11/20/17 9:18 PM

FWimberley_H-Plates_146-343_Final.indd 149

11/20/17 9:18 PM

150

Frank Wimberley

The Drawing Project

Black Horizontal 3 Oil stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 150

11/20/17 9:18 PM

FWimberley_H-Plates_146-343_Final.indd 151

11/20/17 9:18 PM

152

Frank Wimberley

The Drawing Project

Black Horizontal 4 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 152

11/20/17 9:18 PM

FWimberley_H-Plates_146-343_Final.indd 153

11/20/17 9:18 PM

154

Frank Wimberley

The Drawing Project

Black Horizontal 5 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 154

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 155

11/20/17 9:19 PM

156

Frank Wimberley

The Drawing Project

Black Horizontal 6 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 156

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 157

11/20/17 9:19 PM

158

Frank Wimberley

The Drawing Project

Black Horizontal 7 Acrylic, Pastel on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 158

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 159

11/20/17 9:19 PM

160

Frank Wimberley

The Drawing Project

Black Horizontal 8 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 160

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 161

11/20/17 9:19 PM

162

Frank Wimberley

The Drawing Project

Black Horizontal 9 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 162

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 163

11/20/17 9:19 PM

164

Frank Wimberley

The Drawing Project

Black Horizontal 10 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 164

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 165

11/20/17 9:19 PM

166

Frank Wimberley

The Drawing Project

Black Horizontal 11 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 166

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 167

11/20/17 9:19 PM

168

Frank Wimberley

The Drawing Project

Black Horizontal 12 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 168

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 169

11/20/17 9:19 PM

170

Frank Wimberley

The Drawing Project

Black Horizontal 13 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 170

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 171

11/20/17 9:19 PM

172

Frank Wimberley

The Drawing Project

Black Horizontal 14 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 172

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 173

11/20/17 9:19 PM

174

Frank Wimberley

The Drawing Project

Black Horizontal 15 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 174

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 175

11/20/17 9:19 PM

176

Frank Wimberley

The Drawing Project

Black Horizontal 16 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 176

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 177

11/20/17 9:19 PM

178

Frank Wimberley

The Drawing Project

Black Horizontal 17 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 178

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 179

11/20/17 9:19 PM

180

Frank Wimberley

The Drawing Project

Black Horizontal 18 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 180

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 181

11/20/17 9:19 PM

182

Frank Wimberley

The Drawing Project

Black Horizontal 19 Oil stick, Oil Pastel on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 182

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 183

11/20/17 9:19 PM

184

Frank Wimberley

The Drawing Project

Black Horizontal 20 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 184

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 185

11/20/17 9:19 PM

186

Frank Wimberley

The Drawing Project

Black Horizontal 21 Oil stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 186

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 187

11/20/17 9:19 PM

188

Frank Wimberley

The Drawing Project

Black Horizontal 22 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 188

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 189

11/20/17 9:19 PM

190

Frank Wimberley

The Drawing Project

Black Horizontal 23 Oil stick, Acrylic, Pastel on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 190

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 191

11/20/17 9:19 PM

192

Frank Wimberley

The Drawing Project

Black Horizontal 24 Oil stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 192

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 193

11/20/17 9:19 PM

194

Frank Wimberley

The Drawing Project

Black Horizontal 25 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 194

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 195

11/20/17 9:19 PM

196

Frank Wimberley

The Drawing Project

Black Horizontal 26 Oil stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 196

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 197

11/20/17 9:19 PM

198

Frank Wimberley

The Drawing Project

Black Horizontal 27 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 198

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 199

11/20/17 9:19 PM

200

Frank Wimberley

The Drawing Project

Black Horizontal 28 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 200

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 201

11/20/17 9:19 PM

202

Frank Wimberley

The Drawing Project

Black Horizontal 29 Oil stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 202

11/20/17 9:19 PM

FWimberley_H-Plates_146-343_Final.indd 203

11/20/17 9:19 PM

204

Frank Wimberley

The Drawing Project

Black Horizontal 30 Oil stick, Oil Pastel on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 204

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 205

11/20/17 9:20 PM

206

Frank Wimberley

The Drawing Project

Black Horizontal 31 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 206

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 207

11/20/17 9:20 PM

208

Frank Wimberley

The Drawing Project

Black Horizontal 32 Oil stick, Pastel on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 208

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 209

11/20/17 9:20 PM

210

Frank Wimberley

The Drawing Project

Black Horizontal 33 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 210

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 211

11/20/17 9:20 PM

212

Frank Wimberley

The Drawing Project

Black Horizontal 34 Oil stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 212

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 213

11/20/17 9:20 PM

214

Frank Wimberley

The Drawing Project

Black Horizontal 35 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 214

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 215

11/20/17 9:20 PM

216

Frank Wimberley

The Drawing Project

Black Horizontal 36 Oil stick, Acrylic, Pastel on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 216

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 217

11/20/17 9:20 PM

218

Frank Wimberley

The Drawing Project

Black Horizontal 37 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 218

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 219

11/20/17 9:20 PM

220

Frank Wimberley

The Drawing Project

Black Horizontal 38 Oil stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 220

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 221

11/20/17 9:20 PM

222

Frank Wimberley

The Drawing Project

Black Horizontal 39 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 222

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 223

11/20/17 9:20 PM

224

Frank Wimberley

The Drawing Project

Black Horizontal 40 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 224

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 225

11/20/17 9:20 PM

226

Frank Wimberley

The Drawing Project

Black Horizontal 41 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 226

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 227

11/20/17 9:20 PM

228

Frank Wimberley

The Drawing Project

Black Horizontal 42 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 228

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 229

11/20/17 9:20 PM

230

Frank Wimberley

The Drawing Project

Black Horizontal 43 Oil stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 230

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 231

11/20/17 9:20 PM

232

Frank Wimberley

The Drawing Project

Black Horizontal 44 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 232

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 233

11/20/17 9:20 PM

234

Frank Wimberley

The Drawing Project

Black Horizontal 45 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 234

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 235

11/20/17 9:20 PM

236

Frank Wimberley

The Drawing Project

Black Horizontal 46 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 236

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 237

11/20/17 9:20 PM

238

Frank Wimberley

The Drawing Project

Black Horizontal 47 Oil stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 238

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 239

11/20/17 9:20 PM

240

Frank Wimberley

The Drawing Project

Black Horizontal 48 Oil stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 240

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 241

11/20/17 9:20 PM

242

Frank Wimberley

The Drawing Project

Black Horizontal 49 Oil stick, Pastel on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 242

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 243

11/20/17 9:20 PM

244

Frank Wimberley

The Drawing Project

Black Horizontal 50 Oil stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 244

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 245

11/20/17 9:20 PM

246

Frank Wimberley

The Drawing Project

Black Horizontal 51 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 246

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 247

11/20/17 9:20 PM

248

Frank Wimberley

The Drawing Project

Black Horizontal 52 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 248

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 249

11/20/17 9:20 PM

250

Frank Wimberley

The Drawing Project

White Horizontal 1 Oil stick, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 250

11/20/17 9:20 PM

FWimberley_H-Plates_146-343_Final.indd 251

11/20/17 9:21 PM

252

Frank Wimberley

The Drawing Project

White Horizontal 2 Oil stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 252

11/20/17 9:21 PM

FWimberley_H-Plates_146-343_Final.indd 253

11/20/17 9:21 PM

254

Frank Wimberley

The Drawing Project

White Horizontal 3 Oil stick, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 254

11/20/17 9:21 PM

FWimberley_H-Plates_146-343_Final.indd 255

11/20/17 9:21 PM

256

Frank Wimberley

The Drawing Project

White Horizontal 4 Oil stick, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 256

11/20/17 9:21 PM

FWimberley_H-Plates_146-343_Final.indd 257

11/20/17 9:21 PM

258

Frank Wimberley

The Drawing Project

White Horizontal 5 Oil stick, Acrylic, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 258

11/20/17 9:21 PM

FWimberley_H-Plates_146-343_Final.indd 259

11/20/17 9:21 PM

260

Frank Wimberley

The Drawing Project

White Horizontal 6 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 260

11/20/17 9:21 PM

FWimberley_H-Plates_146-343_Final.indd 261

11/20/17 9:21 PM

262

Frank Wimberley

The Drawing Project

White Horizontal 7 Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 262

11/20/17 9:21 PM

FWimberley_H-Plates_146-343_Final.indd 263

11/20/17 9:21 PM

264

Frank Wimberley

The Drawing Project

White Horizontal 8 Oil stick, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 264

11/20/17 9:21 PM

FWimberley_H-Plates_146-343_Final.indd 265

11/20/17 9:21 PM

266

Frank Wimberley

The Drawing Project

White Horizontal 9 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 266

11/20/17 9:21 PM

FWimberley_H-Plates_146-343_Final.indd 267

11/20/17 9:21 PM

268

Frank Wimberley

The Drawing Project

White Horizontal 10 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

FWimberley_H-Plates_146-343_Final.indd 268

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley

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Frank Wimberley EXHIBITIONS AND SELECTED BIBLIOGRAPHY b. 1926, Pleasantville, New Jersey Currently resides in New York City and Sag Harbor

SELECTED SOLO EXHIBITIONS The Black History Museum, Hempstead, New York, Frank W. Wimberley, 1973.

Acts of Art Gallery, New York, Collage, Drawing, Paintings, 1974.

Union Theological Seminary, New York, Choices in Abstract Expression, 1974.

Spectrum IV Gallery, New Rochelle, New York, Works On Paper, 1985.

Langston Hughes Cultural Center, Corona, New York, An Alternate Perspective, 1987.

Fine Arts Gallery, Long Island University, Southampton, New York, Abstract Paintings, 1989.

Benton Gallery, Southampton, New York, Three Solo Exhibitions, 1990.

Benton Gallery, Southampton, New York, Approaches to Abstraction, 1992.

AlleyCat Gallery, New York, Recent Works by Frank Wimberley, 1993.

Gallery Authentique, Roslyn, New York, Recent Paintings, 1993.

Rathbone Gallery, The Sage Colleges, Albany, New York, Frank Wimberley: Recent Works, 1993.

Cinque Gallery, New York, Wimberley, 1994.

Gallery Authentique, Roslyn, New York New Paintings, 1994.

Bomani Gallery, San Francisco, Recent Paintings, 1995.

Firehouse Gallery, Nassau Community College, Garden City, New York, Frank Wimberley, 1995.

Gallery Authentique, Roslyn, New York,, Paintings Collages, & Wood Constructions, 1995.

Islip Art Museum, East Islip, New York, Collection Insights, 1997.

June Kelly Gallery, New York, Paintings, 1997.

Arlene Bujese Gallery, East Hampton, New York, Paintings Awarded the Pollock-Krasner Grant for 1998, 1998.

Center Gallery, Adelphi University, Garden City, New York, Then and Now, 2000.

Shelnutt Gallery, Rensselaer, Troy, New York, An Exhibition of Painting for Black History Month, 2001.

June Kelly Gallery, New York, Compositions for Matter, 2001 Port Washington Library Gallery, Port Washington, New York, Gestures, 2002.

Alpan Gallery, Huntington, New York, Paintings and Constructions, 2003 The Heckscher Museum, Huntington, New York, Art and Soul, 2004.

Opalka Gallery, The Sage Colleges, Albany, New York, 35 Year Overview, 2004.

Ferregut Tower Gallery, Southampton, New York, Tone Poems, 2005.

Ferregut Tower Gallery, Southampton, New York, Melodic Impasto, 2006.

June Kelly Gallery, New York, From Here to There, 2006.

Spanierman Gallery at East Hampton, New York, Frank Wimberley, 2008.

Raphael Gallery, New York, 2017

SELECTED GROUP EXHIBITIONS CW Post College, Brookville, New York, 1969.

The Hudson River Museum, Yonkers, New York, 1971.

Museum of Modern Art , Penthouse Gallery, New York, Acts of Art, 1972.

Suffolk Community College, Selden, New York, 1973-4.

Brookwood East Gallery, East Islip, New York, Collages and Paintings, 1973-4.

Nassau Community College, Garden City, New York, A Few Shades of Black, 1974.

Guild Hall Museum, East Hampton, New York, Eastville Artists, 1979.

Peter S. Loonam Gallery, Major Media, 1980.

Counterpoint Guild & Bertina Hunter, Lever House, New York, Sculpture 81, Commemorating Black History Month, 1981.

Guild Hall Museum, East Hampton, New York, Winterscape, 48 Artists of the Region Interpret the Theme, 1981.

Katharina Rich Perlow, New York, 1985-90.

Chris Marc Beaux Art, Martinique, French West Indies, 1982.

Cinque Gallery, New York, 1982-98.

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345 Peter S. Loonam Gallery, Bridgehampton, New York, 1982-86.

Peri-Renneth Gallery, Westhampton Beach, New York, Contemporary Black Artists, 1983.

Nassau Community College, Garden City, New York, 15th Open Print, Drawing and Watercolor Competition, 1984.

Guild Hall Museum, East Hampton, New York, Walls: The Artist as Philosopher/Poet, 1985.

The Studio Museum in Harlem, New York, The Fine Art of Collecting I, 1985.

Katharina Rich Perlow, New York, 1985-90.

Albright-Knox Members’ Gallery, Buffalo, New York, 1986.

Baltimore Museum of Art, Maryland, 1986.

Discovery Gallery, Glen Cove, New York, 1986.

Islip Art Museum, East Islip, New York, Abstract Energy Now, 1986.

Alitashe Kebede Gallery, Los Angeles, New Acquisitions, 1987.

Islip Art Museum, East Islip, New York, From the Permanent Collection, 1988.

Benton Gallery, Southampton, New York, 4 th Annual Invitational, 1989.

Elaine Benson Gallery, Bridgehampton, New York, Personal Patterns, 1989.

June Kelly Gallery, New York, Paintings and Works on Paper, 1989.

Langston Hughes Cultural Center, Corona, New York, Twentieth Anniversary Retrospective Art Exhibition, 1989.

Nassau County Museum of Fine Arts, Roslyn, New York, Invitational Benton Gallery, Southampton, New York, Nature: Variations, 1990.

Kenkeleba Gallery, New York, Abstract Works, 1990.

ACBAW Gallery, Mount Vernon, New York, New Horizons, 1992.

Discovery Gallery, Glen Cove, New York, Beneath the Surface, 1992.

Discovery Gallery, Glen Cove, New York, Liberation Through Color, 1991.

The Brooklyn Union Gas Community Gallery, Brooklyn, New York, 1992.

The Jamaican Art Center, Jamaica, New York, Reflections in African American Art II, 1992.

Adelphi University, Garden City, New York, John H. & Vivian Hewitt Collection of African American Artists, 1993.

Ashawagh Hall, Springs, New York, The Springs Invitational, 1993.

Discovery Gallery, Glen Cove, New York, Less is More: 20x20x20, 1993.

Elaine Benson Gallery, Bridgehampton, New York, Different Drummer, 1993.

Gallery Authentique, Roslyn, New York, New Paintings, 1993.

Kenkeleba House, New York, The Search for Freedom African American Abstract Painting, 1945-1975, 1992.

The Odeon Gallery, Sag Harbor, New York, Nature Talks, 1993.

Arlene Bujese Gallery, Southhampton, New York, Winter Light, The Reach of Abstraction, Light of Spring, Matter of Synthesis: Collage and Assemblage, Object into Subject, 1995.

Cinque Gallery, New York, Bridge of Dreams, 1995.

Gallery Authentique, Roslyn, New York, The Circle, Symbol of the Psyche, 1995.

Gallery Authentique, Roslyn, New York, Drawings, 1995.

Gallery Authentique, Roslyn, New York, Geometry vs. Gesture, 1995.

Howard University College of Fine Arts, and Fondo Del Sol, Washington, D.C., Lois Mailou Jones and Her Former Students, an American Legacy, 1930-1995, 1995.

The Islip Art Museum, East Islip, New York, In The Making: The First Ten Years of The Permanent Collection of the Islip Art Museum, 1995.

New York Institute of Technology, Old Westbury, Tri-County Artists, 1995 Northeastern University, Jamaica Plain, Massachusetts, African American Master Artist in Residency Program, 1995.

Russel Sage Junior College, Albany, New York, Messages from the Interior Curated by George Hofman, Traveling Exhibition, 1995.

Staller Center for the Arts, SUNY, Stony Brook, New York, Eighteen Suffolk Artists, 1995.

The African American Museum, Charleston, North Carolina, Lois Mailou Jones and Her Former Students, An American Legacy, 1930-1995, 1997.

Arlene Bujese Gallery, East Hampton, New York, Dealer’s Choice III: Gallery Artists, 1997.

Cinque Gallery, New York, In The Spirit, 1997.

Islip Art Museum, East Islip, New York, The Altered Image, 1997.

Nese Alpan Gallery, Roslyn, New York, Celebrating Diversity, 1997.

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Frank Wimberley Nese Alpan Gallery, Roslyn, New York, 28 Long Island Artists, Recent Works, 1997.

The Richard and Hinda Rosenthal Gallery, Stamford, Connecticut, 20th Century Windup A Fin de Siècle Art Exhibition, 1997.

Arlene Bujese Gallery, East Hampton, New York, A Place By the Sea, 1998.

Arlene Bujese Gallery, East Hampton, New York, The Spirit of Nature, 1998.

The Elaine Benson Gallery, Bridgehampton, New York, Old Friends, 1998.

The June Kelly Gallery, New York, Art Dealers Association of America, 1998.

The Mint Museum of Art, Charleston, North Carolina, The Hewitt Collection, 1998.

Parrish Museum, Southampton, New York, The Thirty-sixth Juried Exhibition, 1998.

The Rathbone Gallery, The Sage Colleges, Albany, New York, A Place By the Sea, 1998.

The Spelman College Museum of Fine Art, Atlanta, Georgia, Lois Mailou Jones, and Her Former Students, an American Legacy, 1930-1995, 1998.

Nese Alpan Gallery, Roslyn, New York, Summer Selection: 2000, 2000.

Arlene Bujese Gallery, East Hampton, New York, Abstraction: 60 Years/60 Artists, 2000.

Arlene Bujese Gallery, East Hampton, New York, Dealer’s Choice: 8th Annual, 2000.

Arlene Bujese Gallery, East Hampton, New York, Drawing and Sculpture 2000, 2000.

Cinque Gallery, New York, Founders and Friends Exhibition, 2000.

Firehouse Gallery, Nassau Community College, Garden City, New York, See What We Believe, A Visual Journey of the African American Spirit, 2000.

The Goat Alley Gallery, Sag Harbor, New York, 18th Annual 725 Show, 2000.

Nese Alpan Gallery, Roslyn, New York, Different Directions, 2000.

Omni Gallery, Uniondale, New York, Recent Works, Frank Wimberley, Dan Welden, 2000.

The Richard and Hinda Rosenthal Gallery, Stamford, Connecticut, Reverberations, An Art Exhibition to Honor Black History Month, Year 2000.

Sag Harbor Whaling and Historical Museum, New York, Black Whalers, 2000 Sankofa, Albany International Airport, New York, An Exhibition Celebrating 25 Years of Black Dimensions in Art, 2000.

The Wadsworth Atheneum, Hartford, Connecticut, The Amistad Foundation, The Annual Juneteenth Celebration, 2000.

Alpan Gallery, Huntington, New York, Re-Opening, 2001.

Arlene Bujese Gallery, East Hampton, New York, ABSTRACTION: Cross Currents I, 2001.

Arlene Bujese Gallery, East Hampton, New York, On Paper / Of Paper, 2001.

Jack Tilton Gallery, New York, No Greater Love: Abstraction, 2001.

June Kelly Gallery, New York, Art Chicago 2002, Chicago, 2001.

June Kelly Gallery, New York, Art Dealers Association of America, 2001.

Shelnutt Gallery, Rensselaer. Troy, New York, An Exhibition to Honor Black History Month, 2001.

Alpan Gallery, Huntington, New York, Winter Selections, 2002.

Biennale Internazionale Dell’ Arte Contemporanea, Florence, Italy, 2002.

Pennsylvania Academy of the Fine Arts, Philadelphia, Layers of Meaning, 2002.

Alpan Gallery, Huntington, New York, Diverse Works, 2003.

Deborah Davis Fine Art, Inc., Hudson, New York, Reflections, 2003.

The Phillips Museum of Art, Franklin & Marshall College, Lancaster, Pennsylvania, Something to Look Forward To, 2003.

Shelnutt Gallery, Rensselaer, Troy, New York, Jazz Reverberations, 2003.

Alpan Gallery, Huntington, NY, Point of View, 2005.

The Heckscher Museum of Art, Huntington, New York, Something to Look Forward To, 2005.

The Hewitt Collection of African American Art, Celebration & Vision, A Conversation about Collecting, 2005.

The Pfizer Corporate Art Program, New York, Ten Artists Defining Abstraction, from The June Kelly Gallery, New York, 2005.

Wadsworth Atheneum, The Amistad Foundation, Hartford, Connecticut, 2005.

The Beach Museum of Art, Kansas State University, Something to Look Forward To, 2006.

The Ferregut Tower Gallery, Southampton, New York, Celebrations From Around the World, 2006.

The New York State Museum, Albany, New York, Driven to Abstraction, 2006.

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347 Spanierman Modern, New York, Long Island Abstraction, 1950’s to the Present, 2006.

Southampton Historical Museum, Southampton, NY, Mahogany Dew I, 2007.

Southampton Arts Center, Southampton, NY, 2017

SELECTED REFERENCES Helen A. Harrison, “The Eastville Story,” New York Times, February 25, 1979.

Helen A. Harrison, “Abstraction Displays Its Energy,” New York Times, June 29, 1988.

Phyllis Braff, “From the Studio,” East Hampton Star, September 18, 1988.

Alexander Russo, “Perspectives,” East Hampton Star, July 18, 1988.

Connie Sica, “An Artist’s Artist: Frank Wimberley, Unbound,” East Hampton Star, February 9, 1989.

Phyllis Braff, “The Abstract Universe,” New York Times, March 5, 1989.

Michael Eck, “The Art of Jazz,” Times Union, October 3, 1993.

Dominick D. Lombardi, “Sounds Expressed in Paint,” Bedford Pound Ridge Record Review, December 20, 1996.

Phyllis Braff, “Art Reviews,” New York Times, December 13, 1999.

Pamela Kurchin, “Celebration and Vision,” (Mint Museum of Art, 1999).

Patrick Kurp, “Abstract Ideals,” Daily Gazette (Schenectady, New York), March 5, 1999.

Phyllis Braff, “The Spirit of Nature,” New York Times, April 18, 1999.

Rose C.S. Slivka, “From the Studio,” East Hampton Star, June 24, 1999.

Phyllis Braff, “Old Friends,” New York Times, June 27, 1999.

Rose. C. S. Slivka, “From the Studio, Parrish Museum’s 36th Juried Exhibition,” East Hampton Star, December 9, 1999.

Auriella Budick, “Frank Wimberley Has a Brush with Success,” Newsday (December 24, 1999).

Phyllis Braff, “Frank Wimberley,” New York Times, February 6, 2000.

Sheridan Sansegundo, “Frank Wimberley, Where the Road Leads,” East Hampton Star, August 24, 2000.

Helen Harrison, “Different Directions,” New York Times, December 17, 2000.

Grace Glueck, “Frank Wimberley, Compositions for Matter,” New York Times, November 23, 2001.

Helen A. Harrison and Constance Ayers Denne, “Two Centuries of Artists and Writers on the Beach,” Hamptons Bohemia, April 2, 2002.

Bob Colacello and Jonathan Becker, “Artists of Long Island’s East End,” Studios by the Sea, June 2, 2002.

Megan Whilden, “Frank Wimberley, The Improvisation of Abstraction,” The Artful Mind, October 1, 2004.

Andrew Botsford, “Abstract Artist Tends a Living Garden of Images,” Southampton Press, November 11, 2005.

Helen Harrison, “Tone Poems,” New York Times, November 13, 2005. Eric Ernst, “Brush Strokes Line Jazz and Abstract Art,” Southampton Press, October 22, 2005.

Eric Ernst, “Emotional Intensity,” Southampton Press, August 3, 2006.

Aileen Jacobsen, “Fresh,” Newsday (July 30, 2006).

MUSEUM COLLECTIONS Cleary, Gottlieb, Steen, and Hamilton, New York Coca Cola Bottling Company, Philadelphia The East Hampton Guild, East Hampton, New York Islip Art Museum, East Islip, New York The James E. Lewis Gallery, Morgan State, Maryland John Hoskins Estate, Atlanta University, Georgia Pepsico, Purchase, New York The Parrish Art Museum, Water Mill, New York Schomburg Center for Research in Black Culture, New York Time Warner, New York Yale University Art Gallery, New Haven, Connecticut

AWARDS Top Honors, Annual Guild Hall Members Art Exhibition, 2010

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348

Frank Wimberley Plates Black Verticals

11 Black Vertical 11 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

67

1 Black Vertical 1 Oil Stick on Arches Paper, 2008 30 x 22 3⁄16 in. (76.2 x 56.356 cm)

47

12 Black Vertical 12 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

69

49

13 Black Vertical 13 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

71

51

14 Black Vertical 14 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

73

53

15 Black Vertical 15 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

75

55

16 Black Vertical 16 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

77

57

17 Black Vertical 17 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

79

59

18 Black Vertical 18 Oil Stick, on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

81

61

19 Black Vertical 19 Oil Stick, Oil Pastel on Arches Paper, 2008 83 30 x22 3⁄16 in. (76.2 x 56.356 cm)

63

20 Black Vertical 20 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

65

21 Black Vertical 21 Oil Stick, Pastel on Arches Paper, 2008 87 30 x22 3⁄16 in. (76.2 x 56.356 cm)

2 Black Vertical 2 Oil Stick, Ink on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm) 3 Black Vertical 3 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm) 4 Black Vertical 4 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm) 5 Black Vertical 5 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm) 6 Black Vertical 6 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm) 7 Black Vertical 7 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm) 8 Black Vertical 8 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm) 9 Black Vertical 9 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm) 10 Black Vertical 10 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

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85

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349

22 Black Vertical22 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

89

7 White Vertical 7 Oil Stick, Ink, Acrylic on Arches Paper, 2008 109 30 x22 3⁄16 in. (76.2 x 56.356 cm)

91

8 White Vertical 8 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

111

93

9 White Vertical 9 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

113

95

10 White Vertical 10 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

115

White Verticals

11 White Vertical 11 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

117

1 White Vertical 1 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

97

12 White Vertical 12 Oil Stick, Acrylic on Arches Paper, 2008 119 30 x22 3⁄16 in. (76.2 x 56.356 cm)

99

13 White Vertical 13 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

121

101

14 White Vertical 14 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

123

103

15 White Vertical 15 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

125

105

16 White Vertical 16 Oil Stick, Ink on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

127

107

17 White Vertical 17 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

129

23 Black Vertical 23 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm) 24 Black Vertical 24 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm) 25 Black Vertical 25 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

2 White Vertical 2 Oil Stick, Ink on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm) 3 White Vertical 3 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm) 4 White Vertical 4 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm) 5 White Vertical 5 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm) 6 White Vertical 6 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

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Frank Wimberley 18 White Vertical 18 Oil Stick, Acrylic on Arches Paper, 2008 131 30 x22 3⁄16 in. (76.2 x 56.356 cm)

3 Black Horizontal 3 Oil Stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 151

19 White Vertical 19 Oil Stick, Ink, Acrylic on Arches Paper, 2008 133 30 x22 3⁄16 in. (76.2 x 56.356 cm)

4 Black Horizontal 4 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

153

20 White Vertical 20 Oil Stick, Ink, Acrylic on Arches Paper, 2008 135 30 x22 3⁄16 in. (76.2 x 56.356 cm)

5 Black Horizontal 5 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

155

21 White Vertical 21 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

137

6 Black Horizontal 6 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

157

139

7 Black Horizontal 7 Acrylic, Pastel on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 159

141

8 Black Horizontal 8 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

161

143

9 Black Horizontal 9 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

163

25 White Vertical 25 Oil Stick, Acrylic on Arches Paper, 2008 145 30 x22 3⁄16 in. (76.2 x 56.356 cm)

10 Black Horizontal 10 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

165

Black Horizontal

11 Black Horizontal 11 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

167

1 Black Horizontal 1 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

147

12 Black Horizontal 12 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

169

149

13 Black Horizontal 13 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

171

22 White Vertical22 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm) 23 White Vertical 23 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm) 24 White Vertical 24 Oil Stick on Arches Paper, 2008 30 x22 3⁄16 in. (76.2 x 56.356 cm)

2 Black Horizontal 2 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

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351

14 Black Horizontal 14 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

173

25 Black Horizontal 25 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

175

26 Black Horizontal 26 Oil Stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 197

177

27 Black Horizontal 27 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

199

179

28 Black Horizontal 28 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

201

181

29 Black Horizontal 29 Oil Stick, Acrylic on Arches Paper, 2008 203 22 x 30 in. (55.88 x 76.2 cm)

19 Black Horizontal 19 Oil Stick, Oil Pastel on Arches Paper, 2008 183 22 x 30 in. (55.88 x 76.2 cm)

30 Black Horizontal 30 Oil Stick, Oil Pastel on Arches Paper, 2008 205 22 x 30 in. (55.88 x 76.2 cm)

20 Black Horizontal 20 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

31 Black Horizontal 31 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

15 Black Horizontal 15 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 16 Black Horizontal 16 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 17 Black Horizontal 17 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 18 Black Horizontal 18 Oil Stick, on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

185

195

207

21 Black Horizontal 21 Oil Stick, Acrylic on Arches Paper, 2008 187 22 x 30 in. (55.88 x 76.2 cm)

32 Black Horizontal 32 Oil Stick, Pastel on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 209

22 Black Horizontal 22 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

33 Black Horizontal 33 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

189

211

23 Black Horizontal 23 Oil Stick, Acrylic, Pastel on Arches Paper, 2008 191 22 x 30 in. (55.88 x 76.2 cm)

34 Black Horizontal 34 Oil Stick, Acrylic on Arches Paper, 2008 213 22 x 30 in. (55.88 x 76.2 cm)

24 Black Horizontal 24 Oil Stick, Acrylic on Arches Paper, 2008 193 22 x 30 in. (55.88 x 76.2 cm)

35 Black Horizontal 35 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

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352

Frank Wimberley 36 Black Horizontal 36 Oil Stick, Acrylic, Pastel on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 217

47 Black Horizontal 47 Oil Stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 239

37 Black Horizontal 37 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

219

48 Black Horizontal 48 Oil Stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 241

38 Black Horizontal 38 Oil Stick, Acrylic on Arches Paper, 2008 221 22 x 30 in. (55.88 x 76.2 cm)

49 Black Horizontal 49 Oil Stick, Pastel on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 243

39 Black Horizontal 39 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

223

50 Black Vertical 50 Oil Stick, Acrylic on Arches Paper, 2008 245 22 x 30 in. (55.88 x 76.2 cm)

225

51 Black Vertical 51 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

247

41 Black Horizontal 41 Oil Stick, on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

227

52 Black Horizontal 52 Oil Stick, on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

249

42 Black Horizontal 42 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

229

White Horizontal

40 Black Horizontal 40 Oil Stick, on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

43 Black Horizontal 43 Oil Stick, Acrylic on Arches Paper, 2008 231 22 x 30 in. (55.88 x 76.2 cm)

1 White Horizontal 1 Oil Stick, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

44 Black Horizontal 44 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

233

2 White Horizontal 2 Oil Stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 253

235

3 White Horizontal 3 Oil Stick, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

255

237

4 White Horizontal 4 Oil Stick, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

257

45 Black Horizontal 45 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 46 Black Horizontal 46 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

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353

5 White Horizontal 5 Oil Stick, Acrylic, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 259

17 White Horizontal 17 Oil Stick, Acrylic, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 281

6 White Horizontal 6 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

261

18 White Horizontal 18 Oil stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 283

263

19 White Horizontal 19 Oil Stick, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

285

265

20 White Horizontal 20 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

287

267

21 White Horizontal 21 Oil Stick, on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

289

269

23 White Horizontal 23 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

291

271

24 White Horizontal 24 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

293

273

25 White Horizontal 25 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

295

14 White Horizontal 14 Oil Stick, Acrylic, Ink on Arches Paper, 2008 275 22 x 30 in. (55.88 x 76.2 cm)

26 White Horizontal 26 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

297

15 White Horizontal 15 Acrylic, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

277

27 White Horizontal 27 Oil Stick, Acrylic on Arches Paper, 2008 299 22 x 30 in. (55.88 x 76.2 cm)

279

28 WhiteHorizontal 28 Oil Stick, Acrylic on Arches Paper, 2008 301 22 x 30 in. (55.88 x 76.2 cm)

7 White Horizontal 7 Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 8 White Horizontal 8 Oil Stick, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 9 White Horizontal 9 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 10 White Horizontal 10 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 11 White Horizontal 11 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 13 White Horizontal 13 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

16 White Horizontal 16 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

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Frank Wimberley 29 White Horizontal 29 Oil Stick, Acrylic, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 303

40 White Horizontal 40 Oil Stick, on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

30 White Horizontal 30 Oil Stick, Acrylic, Oil Pastel on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 305

41 White Horizontal 41 Oil Stick, Acrylic on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 327

31 White Horizontal 31 Oil Stick, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

43 White Horizontal 43 Oil Stick, Acrylic, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 329

307

325

32 White Horizontal 32 Oil Stick, Ink, Acrylic on Arches Paper, 2008 309 22 x 30 in. (55.88 x 76.2 cm)

44 White Horizontal 44 Oil Stick, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

33 White Horizontal 33 Oil Stick, Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

311

45 White Horizontal 45 Oil Stick, Acrylic on Arches Paper, 2008 333 22 x 30 in. (55.88 x 76.2 cm)

313

46 White Horizontal 46 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

335

315

47 White Horizontal 47 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

337

317

48 White Horizontal 48 Oil Stick Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

339

319

49 White Horizontal 49 Ink on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

341

34 White Horizontal 34 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 35 White Horizontal 35 Oil stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 36 White Horizontal 36 Oil Stick, on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm) 37 White Horizontal 37 Oil Stick on Arches Paper, 2008 22 x 30 in. (55.88 x 76.2 cm)

38 White Horizontal 38 Oil Stick, Acrylic, Ink on Arches Paper, 2008 321 22 x 30 in. (55.88 x 76.2 cm)

331

50 White Vertical 50 Oil Stick, Acrylic on Arches Paper, 2008 343 22 x 30 in. (55.88 x 76.2 cm)

39 White Horizontal 39 Oil Stick, Acrylic, Ink on Arches Paper, 2008 323 22 x 30 in. (55.88 x 76.2 cm)

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