GENERAL DESCRIPTION
Jack Whitten created Slip Zone during a pivotal period of experimentation and innovation. In this work, the artist abandoned handmade gesture and brushstroke; instead, paint and canvas were "processed" through a technique using large paint filled troughs through which he dragged the canvas, with sticks, rakes, and Afro-combs used to create surface texture.
Adapted from
- Charles Wylie, Re-Seeing the Contemporary: Selected from the Collection, Label text, 2010.
- Jeffrey Grove, DMA unpublished material, 2010.
NOTES
Exhibitions
Museum is history: Modern and Contemporary Art from 1950-1990; ID: 11873, TMS ID: 3184
Re-seeing the Contemporary: Selected from the Collection; ID: 11812; TMS ID: 2823
Removed following sentences related to Xerox at request of Vivian Crockett prepping for Slip Zone exhibition. (ES 5/27/2021)
Critical to the development of Whitten's new process-based approach to painting was a grant he received from the Xerox Corporation around 1970, inviting him and three other artists to experiment with their machines and work with Xerox engineers. The experience of witnessing the effect of toner, light, and time on the mechanical manufacture of an image led Whitten to conclude that he could at once expand his own gesture while removing his hand from the process.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 2010: Jack Whitten (b. 1939)
2010: Dallas Museum of Art and The Rachofsky Collection (owned jointly), purchased through Alexander Gray Associates, New York [1][2]
[1] See the copy of the Co-Tenancy Agreement in the Collections Records object file.
[2] See the copy of the invoice from Alexander Gray Associates dated September 2, 2010 in the Collections Records object file.
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
apply to objects where number equals 2010.26.1
Category
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General Description
Jack Whitten created Slip Zone during a pivotal period of experimentation and innovation. In this work, the artist abandoned handmade gesture and brushstroke; instead, paint and canvas were "processed" through a technique using large paint filled troughs through which he dragged the canvas, with sticks, rakes, and Afro-combs used to create surface texture.
Adapted from
- Charles Wylie, Re-Seeing the Contemporary: Selected from the Collection, Label text, 2010.
- Jeffrey Grove, DMA unpublished material, 2010.
Fun Facts
Archival Resources
Web Resources
Notes
Exhibitions
Museum is history: Modern and Contemporary Art from 1950-1990; ID: 11873, TMS ID: 3184
Re-seeing the Contemporary: Selected from the Collection; ID: 11812; TMS ID: 2823
Removed following sentences related to Xerox at request of Vivian Crockett prepping for Slip Zone exhibition. (ES 5/27/2021)
Critical to the development of Whitten's new process-based approach to painting was a grant he received from the Xerox Corporation around 1970, inviting him and three other artists to experiment with their machines and work with Xerox engineers. The experience of witnessing the effect of toner, light, and time on the mechanical manufacture of an image led Whitten to conclude that he could at once expand his own gesture while removing his hand from the process.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 2010: Jack Whitten (b. 1939)
2010: Dallas Museum of Art and The Rachofsky Collection (owned jointly), purchased through Alexander Gray Associates, New York [1][2]
[1] See the copy of the Co-Tenancy Agreement in the Collections Records object file.
[2] See the copy of the invoice from Alexander Gray Associates dated September 2, 2010 in the Collections Records object file.
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
2010.26.1
source file
object_notes_1_a-0004.xml.nores