Page 38 - Studio International - February 1974

Installation shot
Classico paintings Classico V 1968
Konrad Fischer, Dusseldorf, 1968 Polymer paint on paper, 90 x 90 in.

ROBERT RYMAN: experience. Some painters tend to subordinate Konrad Fischer's Gallery in Dusseldorf. The
the immediate experience of the physical exhibition consisted of six paintings on paper
UNFINISHED 1 surface to the expression of a conceptual panels, nine panels to a painting. The panels
structure existent independent of its particular were crated and shipped to Dusseldorf. In the
(MATERIALS) facture: like Mondrian, Van Eyck, or (for a process of getting them through customs (in

BARBARA REISE recent, bad example) Louis Cane. For others, order to avoid the duty that is paid on "Art"
arriving in the country) Konrad had listed them
meaning is so particularly imbedded in the
material facture of their paintings that it is as "paper" and not as paintings. But the customs
finally only accessible by direct official said "But ? It is expensive paper
[This is the first of a 3-part article on Ryman. phenomenological encounters; the work of (handmade) so you will have to pay so much" !
Part II (on 'Procedures') will appear in March late Titian, Turner, Monet, and Rothko "Yes, it is expensive paper", Konrad said,
Studio International and Part III (on rightly inhibits academic iconographers who "but it has been used." The customs official
`Position') in the spring issue of DATA (Milan).] believe in the truth of verbal translations. agreed that it had indeed been used. So the
This is not a painting. What you are looking Within these (naturally over-lapping) paintings arrived designated as "Used Paper".
at is a print - one of an extremely large photo- categorical extremes, Ryman's work is Since that time I have wondered about the
litho edition - whose reproduced formal definitely of the latter type - for, as he wrote in possibility of paintings being defined as
materials are letters, words, and photographs : a letter to a gallery director on 15 July 1969, "Used Paint". Then there could be "Used
not a very sensuous or directly physical `While the concept is important, the work has Bronze", "Used Canvas", "Used Steel", "Used
experience, and quite the opposite from the to do primarily with visual response, so it is Lead" ...
essence of viewing the work of Robert Ryman. difficult to describe.' And in just over 50 years, Ryman has used
When we look at paintings, we are seeing a Our 'visual response' to Ryman's work is to an almost incredible range of materials :
particular physical surface interacting with its the material residue of his activity, which commercially-tubed oil paint, Enamelac and
physical surroundings. It's unusual to look at itself is directly related to his chosen materials. Gripz (fast-drying `sealers'), artist's acrylic
the backs of paintings. But the eye sees light His own concern with material emerges and polymer paints, commercial (house-
reflected from material of different properties clearly in one of his few composed public (and painting) enamel, gesso, lead-based inks,
which the mind interprets variously as characteristically indirect) verbal comments on artist's graphite and charcoal pencils, ordinary
differences in colour, impasto, texture and his work. In the September 1971 issue of ball-point pen, baked enamel, and various
scale - in paper, paint, canvas, frame, wall, and Art Now: New York his 'Statement' read: types of tapes - on linen, cotton, jute, hand-
images 'known' outside that immediate `In the fall of 1968 I did my first show at made rag paper, commercial coffee-filter
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