During high school art class, my teacher suggested that I should squint when viewing a piece of work. Besides increasing the effect of tone and value, this method activated circles so that they often spun at great speeds and interacted with nearby colour fields to produce dazzling strobe effects. Subsequently, the same teacher failed me. I’ve always suspected this had little to do with any alleged administrative error, and was really about my reluctance to take her advice and glue fluorescent string to the surface of my major work.
"Thirty years ago, I wrote joyously that Rauschebnerg's art "let the world in again." Whether this was an altogether good thing largely depends on what you think of the world. If Hamlet was right to exclaim, "Fie! 'tis an unweeded garden," then there might be some merit in such earlier art as kept the world at a distance, or sifted it's content before letting it in." Leo Steinberg, 1997
The economic decoration of 'Broad-rimmed bowl' is attuned to the form of the raw maiolica object. Applied in response to the curvilinear action of the contours, it is in this way most distinguished from the proximate examples of istoriato in the Kenneth Reed collection.