Comments on: Susan Roth: Painting Collage, Collaging Painting http://abstractcritical.com/note/susan-roth-painting-collage-collaging-painting/ Abstract Critical is a not-for profit company aiming to establish a new critical context for all generations of artists involved with ambitious abstract art. Sun, 09 Nov 2014 17:23:33 +0000 hourly 1 http://wordpress.org/?v=3.9.2 By: John Link http://abstractcritical.com/note/susan-roth-painting-collage-collaging-painting/#comment-345227 Sun, 22 Dec 2013 17:15:42 +0000 http://abstractcritical.com/?post_type=note&p=7039#comment-345227 If I were to change anything of what I wrote in 2001 I would leave off the words “conventional expectations”. It is a trite phrase and only skirts, while not really addressing, the point. Susan Roth’s color is not subject to interpretation because it leads only to itself, not in a circle, but directly, in substance – great substance in her case. Convention likes to associate great substance with some fancy interpretation, but that is just the folly of convention and interpretation. Substance is where color gets durability and it must be felt, not thought. Interpretation and the thinking that goes with it travels in circles but few seem to mind.

]]>
By: Patrick Jones http://abstractcritical.com/note/susan-roth-painting-collage-collaging-painting/#comment-179960 Mon, 17 Jun 2013 19:04:40 +0000 http://abstractcritical.com/?post_type=note&p=7039#comment-179960 Dear Terry,Thanks to responding to very interesting and challenging work.Ive only seen a couple of shows of Susans work in the 80s,but agree that the sparser works were the best,even to the extent of glazes instead of colour.I often wonder whether the allusion in critical discussion to old master art is helpfull,tempting the artist to do a Titian .These are Cubist works to me and like Picasso and Braque were best at there simplest.A response worthy of this website!

]]>
By: Terry Ryall http://abstractcritical.com/note/susan-roth-painting-collage-collaging-painting/#comment-179548 Sun, 16 Jun 2013 23:30:16 +0000 http://abstractcritical.com/?post_type=note&p=7039#comment-179548 This might be perverse coming from a sculptor but I prefer the slightly less physical works of Susan Roth-Prince of Darkness and Don Quixote for example (particularly the latter). They are less dominated by the folded/crumpled canvas element but (at least to my eye) that seems to give the paintings a more balanced look allowing the painted features that Emyr Williams highlights plus the irregular canvas shapes (the ‘framing edge’ that Patrick Jones refers to) to add their weight in a way that results in ambitious unity composed of visual diversity. It would be good to actually see the work.

]]>
By: Emyr Williams http://abstractcritical.com/note/susan-roth-painting-collage-collaging-painting/#comment-179441 Sun, 16 Jun 2013 19:13:28 +0000 http://abstractcritical.com/?post_type=note&p=7039#comment-179441 The title does throw up a link with Hofmann who had his studio there. There is a subtle split half configuration in “Provincetown”, the colour has all three complimentary pairs – much in the way that Hoffman often does – but without the “easel” flourishes. A painting like Hofmann’s “Golden Blaze” has a similar symmetry. Hofmann in his painting uses white, slammed in to cool everything down. Whereas Roth has a cooling use of faded red and canvas coming through to give her surfaces a breathing quality which fights against the accretions. I like the sly salmon pink on the left and the switch between (what looks like in repro) cobalt and manganese blues. These kind of decisions do not get made by chance! I first saw her work in Golden Paints at their factory gallery – it was around the late eighties and it was quite startling to see the shaping and folding of canvas, opening up the work in quite surprising ways. The latest ones look interesting with higher keyed colour, sprays, masking and a more deliberate folding. The darks streaking through have a slight Frankenthaler connotation – they are fresh and stimulating to look at.

]]>
By: Patrick Jones http://abstractcritical.com/note/susan-roth-painting-collage-collaging-painting/#comment-179293 Sun, 16 Jun 2013 11:59:48 +0000 http://abstractcritical.com/?post_type=note&p=7039#comment-179293 What I find so exciting about Susans pictures isnt the 3 dimensional collage,Its the shaping of the framing edge,as an expressive element.In this country we assume applying colour to a flat white rectangle is painting ,but the Americans, from Stella onwards, consider everything up for grabs.Poons uses cropping in a radical way,despite the thickness of his paint,which must be a technical nightmare.This makes the picture appear internally generated which is very exciting and subversive.

]]>
By: Peter Stott http://abstractcritical.com/note/susan-roth-painting-collage-collaging-painting/#comment-178816 Sat, 15 Jun 2013 14:25:08 +0000 http://abstractcritical.com/?post_type=note&p=7039#comment-178816 @Robin, not against Sue’s work per se, but that Provincetown picture looks bloody awful, I’d describe it as a ‘morning after’ painting, where one wakes up hungover, finds paint on one’s best going out clothes, then the memories of the previous night start to permeate reality, how one came home from a night out, pissed and stoned, went into the studio, suddenly saw the ‘Holy Order’ on the painting one’s been agonizing over for six months and one rushes to fix the vision, once and for all. And then one checks up on it, one goes back into the studio and surveys the irrevocable damage and one knows the only way to re-engage with it, is to get as wrecked as before, hoping beyond hope that it can be saved, when it can’t.

]]>
By: MaryAnn Zeppetello http://abstractcritical.com/note/susan-roth-painting-collage-collaging-painting/#comment-177727 Thu, 13 Jun 2013 13:31:26 +0000 http://abstractcritical.com/?post_type=note&p=7039#comment-177727 All I can say is “I like them”. The emotional response is visceral. I have watched her work evolve since the late 70s. Cheers, dear lady!!

]]>
By: Karen Wilkin http://abstractcritical.com/note/susan-roth-painting-collage-collaging-painting/#comment-177448 Thu, 13 Jun 2013 02:29:00 +0000 http://abstractcritical.com/?post_type=note&p=7039#comment-177448 While I’m delighted that you share my enthusiasm for Susan Roth’s work and I’m pleased to be quoted, I would have been even more pleased if the author had taken the trouble to spell my name correctly. It’s “Wilkin” — not very hard, but not “Wilken,” as it appears.

]]>
By: Robin Greenwood http://abstractcritical.com/note/susan-roth-painting-collage-collaging-painting/#comment-177305 Wed, 12 Jun 2013 19:09:06 +0000 http://abstractcritical.com/?post_type=note&p=7039#comment-177305 Peter, I didn’t mention ‘greatness’. Good, I said. Maybe you could say what you think is not good about it (or them).

]]>
By: Tina Von Schleighauser http://abstractcritical.com/note/susan-roth-painting-collage-collaging-painting/#comment-177291 Wed, 12 Jun 2013 18:27:59 +0000 http://abstractcritical.com/?post_type=note&p=7039#comment-177291 In a small gallery in E. Berlin, some years past, I happened upon the work of artist Nikola UKIĆ whose intense use of color and vibrant tints, mixed with texture and and depth, immediately drew my eye. It was both sculptural and possessed of meaning beyond the surface. Though I was not yet graduated from medical school and without substantial income, I invested in his work and it hangs today in my home in Lichterfelde.

When I see Frau Roth’s work, even in digital form, I am reminded of the startling and explosive presence of Herr Ukic. They both share a dynamism that is rare and mystical.

]]>