Sunday, June 19, 2005

Sunday June 19, 2005

Filed under: General,Geometry — Tags: — m759 @ 4:00 AM
Darkness Visible
“No light, but rather darkness visible
 Serv’d only to discover sights of woe”
John Milton, Paradise Lost,
Book I,  lines 63-64

From the cover article (pdf) in the
June/July 2005 Notices of the
American Mathematical Society–

Martin Gardner

A famed vulgarizer, Martin Gardner,
summarizes the art of Ad Reinhardt
(Adolph Dietrich Friedrich Reinhardt,
  Dec. 24, 1913 – Aug. 30, 1967):

“Ed Rinehart [sic] made a fortune painting canvases that were just one solid color.  He had his black period in which the canvas was totally black.  And then he had a blue period in which he was painting the canvas blue.  He was exhibited in top shows in New York, and his pictures wound up in museums.  I did a column in Scientific American on minimal art, and I reproduced one of Ed Rinehart’s black paintings.  Of course, it was just a solid square of pure black.  The publisher insisted on getting permission from the gallery to reproduce it.”

Related material
from Log24.net,
Nov. 9-12, 2004:

Fade to Black

“…that ineffable constellation of talents that makes the player of rank: a gift for conceiving abstract schematic possibilities; a sense of mathematical poetry in the light of which the infinite chaos of probability and permutation is crystallized under the pressure of intense concentration into geometric blossoms; the ruthless focus of force on the subtlest weakness of an opponent.”

— Trevanian, Shibumi

“‘Haven’t there been splendidly elegant colors in Japan since ancient times?’

‘Even black has various subtle shades,’ Sosuke nodded.”

— Yasunari Kawabata, The Old Capital

An Ad Reinhardt painting
described in the entry of
noon, November 9, 2004
is illustrated below.

Ad Reinhardt,  Greek Cross

Ad Reinhardt,
Abstract Painting,
Oil on canvas, 60 x 60 inches.
Solomon R. Guggenheim Museum

The viewer may need to tilt
the screen to see that this
painting is not uniformly black,
but is instead a picture of a
Greek cross, as described below.

“The grid is a staircase to the Universal…. We could think about Ad Reinhardt, who, despite his repeated insistence that ‘Art is art,’ ended up by painting a series of… nine-square grids in which the motif that inescapably emerges is a Greek cross.

Greek Cross

There is no painter in the West who can be unaware of the symbolic power of the cruciform shape and the Pandora’s box of spiritual reference that is opened once one uses it.”

— Rosalind Krauss,
Meyer Schapiro Professor
of Modern Art and Theory
at Columbia University

(Ph.D., Harvard U., 1969),
in “Grids”

The image “http://www.log24.com/log/pix04B/041109-Krauss.jpg” cannot be displayed, because it contains errors.


In memory of
St. William Golding
(Sept. 19, 1911 – June 19, 1993)

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