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Rackstraw Downes
Rackstraw Downes: Onsite Paintings, 1972-2008 is an important overview of the work and methods of this British-born 'realist' panoramic painter (b. 1939) who was given the MacArthur Fellowship genius award in 2009. Though primarily based in New York City, Downes has travelled widely and has created a significant number of landscape paintings on site including the harbour of Portland, Maine, and the Donald Judd structures in Marfa, Texas. Downes's panoramic paintings, which he developed by studying 17th-century Dutch panoramic landscape painting possess a unique balance between realism and abstraction, timelessness and history. Painted from observation, they are not "snapshots" of a scene recreated in the studio; rather, they are chronicles of the human experience-- records of social history as it evolves. The book also features a wide-ranging interview between the artist and Terrie Sultan, director of Parrish Art Museum
Rackstraw Downes
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Rackstraw Downes
April 9 - May 3, 1997
Rackstraw Downes
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Rackstraw Downes
This 48-page catalog was published on the occasion of the exhibition titled Rackstraw Downes: A Wider View, which took place at the List Gallery, Swarthmore College March 5 - April 5, 2020. The catalog includes essay by the exhibition curator, Andrea Packard, and Alfred Mac Adam.
RACKSTRAW DOWNES.
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The Postmodernist Turn
During the 1970s, the United States became the world's preeminent postindustrial society. The new conditions changed the way Americans lived and worked, and even their perceptions of reality. Americans struggled to find their place in a world where symbol became more important than fact, appearance more important than reality, where image supplanted essence. In this reassessment of a little studied decade, J. David Hoeveler, Jr., finds that the sense of detachment and dislocation that characterizes the postindustrial society serves as a paradigm for American thought and culture in the 1970s. The book examines major developments in literary theory, philosophy, architecture, and painting as expressions of a 1970s consciousness. Hoeveler also explores the rival "political" readings of these subjects and considers the postmodernist phenomenon as it became an ideological battleground in the decade. Clear and engaging, the work will be of great interest to historians, theorists, and everyone who wants to further explore the 1970s.
Hey, Marfa
An extraordinary lyric and visual meditation on place, nature, and art rippling out from Marfa, Texas Situated in the outreaches of southwest Texas, the town of Marfa has long been an oasis for artists, immigrants looking for work, and ranchers, while the ghosts of the indigenous and the borders between languages and nations are apparent everywhere. The poet and translator Jeffrey Yang experienced the vastness of desert, township, sky, and time itself as a profound clash of dislocation and familiarity. What does it mean to survive in a physical and metaphorical desert? How does a habitat long associated with wilderness and death become a center for nourishment and art? Out of those experiences and questions, Yang has fashioned a fascinating, multifaceted work—an anti-travel guide, an anti-Western, a book of last words—that is a lyrical, anthropological investigation into history, culture, and extremity of place. Paintings and drawings of Marfa’s landscapes and substations by the artist Rackstraw Downes intertwine with Yang’s texts as mutual nodes and lines of energy. Hey, Marfa is a desert diary scaled to music that aspires to emit particles of light.
