CALIFO RNIA STATE
UNIVE RSITY,
NORTH RIDGE
PAINTING IS THE O BJECT
\\
THE OBJECT IS
PAINTING
An abstract submitted in partial satisf action of the
require ments for the degree of M aster of Arts in
Art
by
Sandra Flanagan Avery
�
January,
1979
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.
.
,.,��··
The Thesis of Sandra Flanagan Avery is approved:
(Pe �er L.
7(Date)
Plagehs)
(Date)
(David Elder)
fbonal ·E.
Lumbert, Chairman)
California State University,
ii
Northridge
ABSTRA CT
PAINTING IS THE OBJE CT
THE OBJECT IS PAINTING
by
Sandra Flanagan Avery
Master of Arts in Art
Art
it
was
has
always related directly to the age in which
created.
technical,
and
Since
yet
we
are
individual,
living
period,
contemporary painting must not only be
in
a
highly
it follows that
philosophical
but
also reflect the inner instinctive feelings of the artist.
The
honest 70's,
as opposed to the cool,
required the artist to be more emotionally
her
again
art.
the
Only
recently
possibilities
aloof 60's, have
involved
with
have painters begun to explore
inherent
"Painting, 'we hear once more',
in
the
medium.
is painting."
Having gone through a Duchampian anti-art phase, I
iii
recently
became cognizant of the fact that not only was I
not relating to the 70's,
myself
either.
While
but I wasn't being
not
honest
with
compromising my intellectual
concerns, I focused on the aesthetic side of my work.
By
becoming
my
more
painterly
and
introducing
color,
paintings became more honest and indicative of my feelings
as an artist.
longer
can
Southern
I rediscovered the
I
deny
California
beautiful,
the
intense
skys.
of
painting.
light
While
present
No
in the
intentionally
not
my paintings have become exciting, stimulating
and visually pleasing.
contrasts
joy
with
As a
result,
Minimalist
art,
by
the
sharpening
the
p hilosophical
and
intellectual aspects of the work were enriched.
For me,
Each
the painting itself has
painting
conists
of
six
slightly away from the wall; thus,
plexiglass discs,
This,
work.
become
pieces
the
which
as with Robert
object.
protrude
Irwin's
the wall becomes an integral part of the
combined with the visceral surface give the
pieces a sculptural relationship -- the viewer relates
the
work
in
a
p hysical sense that one would not attain
from viewing a traditional
works remain,
My
painting
on
a
canvas.
The
however, primarily paintings.
roots
are in Minimalis m,
work is a definite
formalist
to
bar
reaction
to
configuration
sculpture such as Don Judd's;
a 60's style.
the
recent
relates
to
Thus, my
past.
The
Minimalist
the muted neutral colors and
iv
systematic
changes
that
occur in shade or hue are drawn
directly from Minimalist painting,
like
The sharp bursts of color,
contrast in a humorous
context
with
the
subdued
however,
Brice
surface colors.
Marden's.
They are the
stigmata of Abstract Expressionism oozing from
underneath
the
They are a
suffocating
gray
blanket of Minimalism.
resurrection of p ainting.
surface
is
Likewise,
the
crude
painterly
intended to evoke a comparison with the cool,
crisp, clean look associated with Minimal art.
I
confess
to presenting to the public a ''pun" aimed primarily at the
art world.
me
an
Those whose oeuvres are public art might lable
elitist;
but
for
me,
artist.
v
this
comes with being an
HEAVEN IS
ON
SANTA
!'10NICA
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BLVD.
54"x75"
PUNK
R OCK IN
206
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S OUTH HAM PTON
JUNCTION
xi i i
54"x75"
SU!'1MER,
FALL,
HINT E R,
ix
S P RING
54"x75"
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UNTITLED DILEM�1A
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I'M AFRAID
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54"x75"
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