- Shopping Bag ( 0 items )
"In Used Paint, Suzanne P. Hudson detaches the painter's 'white'
paintings from the usual stylistic and polemical framings. Her focus is Ryman's practice (its recycling and recombination of the painter's concerns: support, paint,
edge, wall) and its emergence in the pedagogical milieu of modernism's temple, the Museum of Modern Art. Hudson's Ryman is both pragmatic and pragmatist, a devotee of Dewey and James, D'Amico and Barr: a Ryman for whom idea and action, the what and how of painting, are inextricable terms. In these pages we encounter a Ryman who staves off doubt through the assertion of belief, a belief in painting not as medium or essence but as a cognitive and bodily activity. Her account persuades."--James Meyer, Winship Distinguished Associate Professor of Art History, Emory University