BROCHURE (pdf) - Spanierman Modern

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indentations—some more obvious than others—evokecanyons and waterways. The painting seems predominantlyof a close-valued, burnished gold, but further observationreveals a myriad of tonal nuances. These are created toa large extent by Boxer through a use of underpainting,which shines through the top layer, producing light. As inImpressionist images, the painting seems to glow, conveyingthat its subject is reXected light.Autumnal Brown Gesture (1969) is in the Color Fieldidiom. Fabric that has been stained purple is collaged acrossmuch of the canvas. Against the translucent surface, shadowsand light seem to shift, while areas of the fabric that arecut into or collaged over create a sense of movement, as ifthrough the varied pathways of a garden. A blue and greenpartly collaged, partly painted shape at the center of thework provides a point of rest, but one that does not impedethe viewer’s sense of open possibilities.The exhibition includes many of the exuberant worksBoxer created in the 1990s, in which he blended oil paintwith a range of unusual materials. Some of these canvasesare so densely built up as to verge on relief sculpture. At thesame time, they reveal a painterly sensibility in their gesturaland calligraphic aspects. In Somewhereamarbleman (1990),yellow paint dripped and spread in Pollock fashion over anorange ground, moves the viewer along its diagonal edgeat the left, where the Wery orange ground emerges. Thenthe topography changes again, as tiny green rocks emulate aforest seen from above. The theme of the work seems to betransitioning, and it thus can read metaphorically.Broideriesfromadark (1990) brings together the alloversurface of a Color Field painting with a delight in puresensuousness, produced by the combination of glitter, sand,jewel-like painted rocks, and dabs of bright color. At the sametime, the overt decorative aspect of this painting demonstratesBoxer’s postmodern sensibility. In Paradisicalsuccors (1990),the upper half of the canvas is covered in red rocks of variedshapes and sizes, some colored and some painted over. TheParadisicalsuccors 1990 oil and Mixed media on canvas 26 3 ⁄ 4 x 13 5 ⁄ 8 in.
eVect from a distance is still that of a painting rather thana sculpture, as Boxer creates a sense of atmosphere in theshifting tonalities of the rocks. Ribbon-like lines extendthrough the rocks and down through the aqueous zone inthe work’s lower half, creating a sense of movement andexploration, like a voyager forging a path through unchartedterrain. In Lostnight (1997), Boxer made use of even moreunusual materials. Wood shavings, sawdust, dyed corrugatedcardboard, and roof shingles are blended into an image thatevokes the age-old theme in art of the transition betweenday and night, an allegorical reference to the thresholdbetween this life and one beyond.In the 1960s, Boxer’s work was discovered by thenoted critic Clement Greenberg, who categorized him asa Color Field painter. To Boxer, this label was too limiting.He stated in 1972: “Nothing is per se rejected in my work!Everything is possible.” 8 This sense of being open to lifein all of its richness, opportunities, and contradictions isstrongly present in his art. It is therefore not surprising thatcritics from all persuasions have expressed a deep regardfor Boxer and his work.Lisa N. Petersnotes1. Joy Hakanson Colby, “Stanley Boxer,” Detroit News, May 8, 1997.2. Karen Wilkin, Stanley Boxer: Recent Paintings,” exh. cat. (New York:André Emmerich Gallery, 1982).3. Doug Hanson, “Stanley Boxer, Exhibition Review,” Star-Tribune(Minneapolis), July 2002.4. John Cauman, “Stanley Boxer’s New Paintings,” Art International16 ( January 20, 1972).5. Alan Artner, “Brushwork of Delicate Strength,” Chicago Tribune,December 28, 1979, and Jeanne Siegel, “Stanley Boxer,” Artnews(April 1974).6. Karen Wilkin, “New York/Toronto: Stanley Boxer,” ArtsMagazine (1980).7. Penelope McPhee, “Stanley Boxer,” Art Voices ( July–August 1981).8. Quoted in Cauman, 1972.SELECTED MUSEUM COLLECTIONSAckland Art Museum, University of North Carolinaat Chapel HillAlbright-Knox Art Museum, BuValo, New YorkAsheville Art Museum, North CarolinaBall State University, Muncie, IndianaBirla Museum of Art, IndiaBoca Raton Museum of Art, FloridaBrooklyn Museum, New YorkColumbia Museum of Art, South CarolinaCorcoran Gallery of Art, Washington, D.C.Dayton Art Institute, OhioDes Moines Art Center, IowaEdmonton Art Gallery, CanadaEverson Museum of Art, Syracuse, New YorkHerbert F. Johnson Museum of Art,Cornell University, Ithaca, New YorkHirshhorn Museum and Sculpture Garden, Washington, D.C.Jane Voorhees Zimmerli Art Museum,Rutgers University, New JerseyKresge Art Museum, Michigan State University, East LansingLouisiana Museum of Modern Art, CopenhagenMetropolitan Museum of Art, New YorkMilwaukee Art Museum, WisconsinMint Museum of Art, Charlotte, North CarolinaMuseum of Contemporary Art, Sydney, AustraliaMuseum of Fine Arts, BostonMuseum of Fine Arts, Houston, TexasMuseum of Modern Art, New YorkMuseum of the Twentieth Century, ViennaNational Gallery of Australia, CanberraNew Jersey State Museum, TrentonNewark Museum, New JerseyPhillips Academy, Andover, MassachusettsPortland Art Museum, OregonRose Art Museum at Brandeis University,Waltham, MassachusettsSan Francisco Museum of Modern ArtSanta Barbara Museum of Art, CaliforniaSingapore Art MuseumSolomon R. Guggenheim Museum, New YorkSouthern Alleghenies Museum of Art, Altoona PennsylvaniaSt. Francis College, Loretto, PennsylvaniaTate Gallery, LondonWalker Art Center, MinneapolisWhitney Museum of American Art, New YorkWichita Art Museum, Kansas
Page 1 and 2: stanley boxer
Page 3 and 4: Still Life in an Interior 1960 Oil
Page 5: Stanley Boxer (1926-2000), whose wo

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