Events
New Turf Essay
- From New Turf by Evelyn Hankins, published by the Robert Hull Fleming Museum, University of Vermont, 2005.
Marie Krane, a member of the collaborative Cream Co., focuses intently on nature to find her subjects. In Krane’s paintings, thousands of finely modulated marks form a chromatic timeline charting the artist’s daily observations-and later, memories- of the flowers on a shrub as they passed through growth, bloom, decay, and disintegration. In modernist painting, the grid offers an antinarrative and antihistorical system, but in Kranes hands it gives visual form to a perceptual and narrative field. *Her grid encompasses a developmental sequence of physical changes, atmospheric variations in light and color, the transformation of those mutations through observation, and the process of remembering the initial sensations over a period of several years. At once enticingly sensual and methodically reductive, the mesmerizing, fourteen-panel Three Years (like the beginning of the first year through the end of the third year) is grounded in specific, empirically based experiences, yet it also offers an imaginative and fluid representation of the intangible notion of time.
*Rosalind E. Kraus, “Grids,” in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge, Massachusetts and London; The MIT Press, 1985), 9-22.
More information about the exhibition can be found here:
http://www.uvm.edu/~fleming/index.php?category=exhibitions&page=newturf
