This page is under construction! 2/24/09
I’ve set aside this space to consider a part of painting that is often overlooked: the edges of the canvas. What artists choose to say or not say on the edges and even the sides of their paintings can initiate a fascinating dialogue with the viewer.
About 98% of the time I prefer work on gallery-wrapped canvas. Gallery-wrapping refers to a process where the canvas is folded over the sides of the stretchers and fastened in back so the staples are hidden from view when the painting is hung. Since the sides of a gallery-wrapped canvas are painted with a white paint (gesso) or clear polymer they provide an additional painting surface. I take advantage of this extra surface by painting the sides of each work differently and often leaving evidence of the painting and underpainting processes.
In my studies of modern art history I am always excited to see and photograph what artists choose to communicate in the edges of their paintings and to look for traces of how the paintings were developed.
The photographs in art books and catalogues rarely focus on these peripheral areas of the canvas, so being able to examine them up close is one of the great benefits of seeing the work in person. Since I have already made a study of these often overlooked regions, I would like to share some of the photographs I’ve taken of modern paintings in New York, DC, and Baltimore museums.
I hope I will one day have the chance to see some of the old master painting with their frames removed. I would love to see my favorite Rembrandts and Vermeers in their entirety.
Please check this page in the coming weeks as I progressively build a collection of photographs.