November 17, 1992
Re: Permanent Museum Collection
69 Wooster Street
New York, New York 10012
Dear Ms. Obering:
I am writing this letter in regard to
our phone conversation of this afternoon, during which you requested
information on a work of yours which is currently on view here.
Your painting is part of a small group of works from the LeWitt
collection which have been installed in one of our permanent
contemporary galleries. The title of the exhibition is The Artist's
Mark, and besides yourself, includes the work of Anthony Sansotta,
Bernar Vernet, Edward Allington, Mario Merz, Robert Mangold,
Pat Steir, Dorothea Rockburne and Ian Hamilton Finlay (with Michael
Harvey). The text panel at the entrance to the gallery explains
the motivation for this grouping:
Marks are a key part of an artist's
vocabulary. Phrases such as a "mark of distinction"
and to "make one's mark" convey a notion of individuality.
A mark reveals an intent, a plan or a meaning. Artists' marks,
be they bold or subtle - branded, scratched, stamped, daubed,
scored, traced, sketched - provide many clues about an object.
By seeing as an artist sees, looking closely at the parts and
their totality, we also discover something about the nature of
The works in this room were brought
together through a sense of what they have in common. Most are
black and white and incorporate drawing. All use elemental shapes.
All show something about structure.
Born Shreveport, Louisiana 1937
Lives in New York City
Sala del Trono de Arruzi, 1990
paint and pencil on board
At first glance, this work might appear
to be rigid and austere. Yet this heavy, wooden, compressed hexagon
also holds all the individuality of a person's choice of hairstyle.
Its surface both shiny and matte, abounds with curly, wavy, brittle
and regular lines that form surprising patterns.
Look for the irregularities.