Intimacy and Distance

Alan Reynolds: A Small Retrospective, Works from 1951-2014 at Annely Juda Fine Art, 14 February - 18 April 2019

Research output: Other contributionResearch

Abstract

A Review of the retrospective exhibition held at Annely Juda Fine Art of the British artist Alan Reynolds (1926-2014), highlighting his turn to abstraction in the late 1960s and, his eventual abandonment of painting at the height of his career, to focus on drawings, woodcuts and constructed reliefs. The review places emphasis on Reynolds' drawing which the reviewer sees as a significant part of his oeuvre and notable for the intimacy found in the autographic rendering of the manually drawn surfaces. Set against the carefully defined geometric structures of the compositions, the attention placed on the craft and direct process of the mark-making of the drawing process sets up a balance between distance and intimacy sets him apart from his immediate contemporaries associated with British Constructivism, Concrete or Systems Art. The review begins to make a claim that Reynolds was not only artist searching for an equilibrium of formal components, but one who sought this through the very act of doing, being and an investment in making over time.
Original languageEnglish
PublisherSaturation Point
Place of Publicationonline
Publication statusPublished - 14 Apr 2019

Fingerprint

Fine Arts
Alan Reynolds
Intimacy
Artist
Abandonment
Art
Constructivism
Reviewers
Retrospective Exhibition
Relief
Rendering
1960s
Woodcut

Keywords

  • Abstraction
  • Drawing
  • Constructivism
  • Phenomenology

Cite this

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title = "Intimacy and Distance: Alan Reynolds: A Small Retrospective, Works from 1951-2014 at Annely Juda Fine Art, 14 February - 18 April 2019",
abstract = "A Review of the retrospective exhibition held at Annely Juda Fine Art of the British artist Alan Reynolds (1926-2014), highlighting his turn to abstraction in the late 1960s and, his eventual abandonment of painting at the height of his career, to focus on drawings, woodcuts and constructed reliefs. The review places emphasis on Reynolds' drawing which the reviewer sees as a significant part of his oeuvre and notable for the intimacy found in the autographic rendering of the manually drawn surfaces. Set against the carefully defined geometric structures of the compositions, the attention placed on the craft and direct process of the mark-making of the drawing process sets up a balance between distance and intimacy sets him apart from his immediate contemporaries associated with British Constructivism, Concrete or Systems Art. The review begins to make a claim that Reynolds was not only artist searching for an equilibrium of formal components, but one who sought this through the very act of doing, being and an investment in making over time.",
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N2 - A Review of the retrospective exhibition held at Annely Juda Fine Art of the British artist Alan Reynolds (1926-2014), highlighting his turn to abstraction in the late 1960s and, his eventual abandonment of painting at the height of his career, to focus on drawings, woodcuts and constructed reliefs. The review places emphasis on Reynolds' drawing which the reviewer sees as a significant part of his oeuvre and notable for the intimacy found in the autographic rendering of the manually drawn surfaces. Set against the carefully defined geometric structures of the compositions, the attention placed on the craft and direct process of the mark-making of the drawing process sets up a balance between distance and intimacy sets him apart from his immediate contemporaries associated with British Constructivism, Concrete or Systems Art. The review begins to make a claim that Reynolds was not only artist searching for an equilibrium of formal components, but one who sought this through the very act of doing, being and an investment in making over time.

AB - A Review of the retrospective exhibition held at Annely Juda Fine Art of the British artist Alan Reynolds (1926-2014), highlighting his turn to abstraction in the late 1960s and, his eventual abandonment of painting at the height of his career, to focus on drawings, woodcuts and constructed reliefs. The review places emphasis on Reynolds' drawing which the reviewer sees as a significant part of his oeuvre and notable for the intimacy found in the autographic rendering of the manually drawn surfaces. Set against the carefully defined geometric structures of the compositions, the attention placed on the craft and direct process of the mark-making of the drawing process sets up a balance between distance and intimacy sets him apart from his immediate contemporaries associated with British Constructivism, Concrete or Systems Art. The review begins to make a claim that Reynolds was not only artist searching for an equilibrium of formal components, but one who sought this through the very act of doing, being and an investment in making over time.

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KW - Drawing

KW - Constructivism

KW - Phenomenology

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