2017.6.A-B Ann Craven, Diptych (Roses, Stripe, Morning Glory), 2010

In Diptych (Roses, Stripe, Morning Glory), 2010, Ann Craven revitalizes the floral still life, which had been histor­ically marginalized as a subgenre, seen as little more than the byproduct of a charming amateurism, and minor art making. The still life is accompanied by a “band” or “stripe” painting. An essential part of her practice, the stripe paintings operate as a visual document of mixed colors—the palettes form an index for future reference so that the artist can revisit them in subsequent paintings. They also serve as a technical exercise before commenc­ing a painting. On this process, Craven states, “My paint­ings are a result of mere observation, experiment, and chance and contain a variable that’s constant and ever-changing—the moment just past. The stripes are so I can see what I just mixed. The mixing process is a very uncon­scious progression and so the stripes are a way to list the colors that I just painted. It is a memory and a documenta­tion of the work at the same time.” This visual archive reflexively serves as both a record of her process and as a formal juxtaposition to the more gestural painting. It also reveals, beyond the more lighthearted and whimsical subject matter, an almost obsessive and serial organization of the world. 

Apply to objects where number equals 2017.6.A-B