Author Archives: Rachel Nackman

Lynne Woods Turner on Nicole Fein

By Rachel Nackman | Published: 02/22/2010

One may view a work of art on the screen, but a true experience demands the presence of the object itself. Nicole Fein’s watercolor drawings are particularly worthy of personal observation. Fortunately, this writer has some prior experience of the work in question.

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John Fraser on Nicole Fein

By Rachel Nackman | Published: 02/21/2010

1). Self-reliance: heart / mind / eye / hand.
Mastery of the most fugitive of media: watercolor.

2). Required Tools: pigment, suspension, brush, support, and SELF.

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Michael Straus on Dan Flavin

By Rachel Nackman | Published: 02/20/2010

Judd’s own diagonals –
cut/lines deep into wood, woodcut prints to become,
slanting obliquely into the wood’s own space, dividing it –
a foil for the open silences of Flavin’s alternate,
his counterpoint homage,
endless light waves that roll on past space
fluorescent flows flicked on with a switch
the lack of artifice in bulbs and fixtures plucked from Canal Street
stuck together on the wall, plugged in, illuminated

Elena del Rivero on John Fraser

By Rachel Nackman | Published: 02/19/2010

A shape resembling a ruler is placed in the middle of two rectangular sheets of paper making a cross. This shape is made mostly of paper, but I also see different textures, some tarlatan and fabric as well. The materials blend together as if by the sheer magic of an architect’s mind; the result is a beautiful, constructed drawing, an exquisite mixed media formalistic collage on Japanese paper. While its strength may be geometry, there is also a refined subtlety of color that draws me closer to the work.

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Hadi Tabatabai on Teo González

By Rachel Nackman | Published: 02/18/2010

To borrow a phrase from singer-songwriter Kate Bush: “I put this moment here.” This makes a good description of Teo González’s Drawing 176.

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Andrea J. Nitsche on Eva Hesse

By Rachel Nackman | Published: 02/17/2010

At first blush, this india ink, gouache, watercolor and crayon drawing, from the early years of Eva Hesse’s career, may seem anomalous within the artist’s better-known sculptural oeuvre. Yet initial associations of erotic machines or cartoonish anthropomorphisms eventually give way to a drawing that deals in the studied dialectics in which Hesse showed a sustained interest throughout her truncated yet prolific career.

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William Corbett on Christine Hiebert

By Rachel Nackman | Published: 02/16/2010

A pleasure of abstract art is just now, just here where the blue of the tape meets…you can see it again years from today remembering just when, just where—the quick gesture intact, caught by surprise, delight intensified.

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Lawrence Weiner on Jene Highstein

By Rachel Nackman | Published: 02/15/2010

Look closer…

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Tad Mike with Kristin Holder

By Rachel Nackman | Published: 02/14/2010

Tad Mike: The issue of touch or lack of touch in your work is of interest. You are dealing with something as fragile as soot. There is this issue of approach, namely, how you begin to approach a white sheet of paper and marry these two disparate elements together. Do you imagine and prepare for a number of variables and factors to create these pieces?

Kristin Holder: Yes, pain being the first thing, burning myself. (Laughter)

Joan Waltemath on Roni Horn

By Rachel Nackman | Published: 02/13/2010

The lush field of a void.

Roni Horn’s small drawing from 1985 is a field of deep red pigment, embedded with an even darker red. A searing white form penetrates the field from below. The drawing could be read as a narrative, but not only in this way.

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