GENERAL DESCRIPTION
In bold and innovative multimedia works, Texas native Vernon fisher forces the viewer slightly off-balance with his juxtapositions of the literal and the illusory. He is counted among the postmodernist painters and sculptors who, in the late 20th century, freely mixed styles and media as they jabbed at artistic convention. Fisher often creates a degree of specificity that he then confounds, making a single storyline impossible. Consisting of three individual units, Red and Yellow, Black and White, dramatizes the frustrations inherent in communicating meaning and content in a world saturated with advertising gimmicks and hyperbole. The text panel, wall relief, and blackboard element visually and iconographically reinforce each other, focusing on the problematic nature of perception and communication.
Excerpt from
Bonnie Pitman, ed., "Red and Yellow, Black and White (1983.57.a-c)," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 335.
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PROVENANCE
Until 1983: Delahunty Gallery, Dallas, Texas [1]
From 1983: Dallas Museum of Art, gift of The 500, Inc., The Assemblage, and two anonymous donors, purchased from above.
[1] See object card in Collections Records Object File 1983.57.A-C
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Apply to objects where number equals 1983.57.A-C
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General Description
In bold and innovative multimedia works, Texas native Vernon fisher forces the viewer slightly off-balance with his juxtapositions of the literal and the illusory. He is counted among the postmodernist painters and sculptors who, in the late 20th century, freely mixed styles and media as they jabbed at artistic convention. Fisher often creates a degree of specificity that he then confounds, making a single storyline impossible. Consisting of three individual units, Red and Yellow, Black and White, dramatizes the frustrations inherent in communicating meaning and content in a world saturated with advertising gimmicks and hyperbole. The text panel, wall relief, and blackboard element visually and iconographically reinforce each other, focusing on the problematic nature of perception and communication.
Excerpt from
Bonnie Pitman, ed., "Red and Yellow, Black and White (1983.57.a-c)," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 335.
Fun Facts
Archival Resources
Web Resources
Notes
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 1983: Delahunty Gallery, Dallas, Texas [1]
From 1983: Dallas Museum of Art, gift of The 500, Inc., The Assemblage, and two anonymous donors, purchased from above.
[1] See object card in Collections Records Object File 1983.57.A-C
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
1983.57.A-C
source file
object_notes_3_a-0216.xml.nores