My Dialog With Art Greats Robert Stanley

Notes Kline

City #2oil on paper15 x 23 in.1962

Probed the interplay of order andchaos/expression. In this piece,order was brought into the dialogmore so than Klein did in hisVawdavitch.

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Vawdavitch, 1955Oil on canvas,, 62.25 x

80.68 in.

Notes Diebenkorn

A Pathwatercolor18 x 24 in.1965

Diebenkorn’s “Ocean Park” seriesbuoyed me up with its playgroundof geometric order and painterlyexpressiveness. This work of mine,“A Path,” is youthfully naive, butdoes explore the human role inorderly forces of the universe.

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Notes Reinhardt

Trees IIacrylic30 x 38 in.1968

Reinhardt’s work was mystical butdistant to many. Using close tonesin a potentially real scene, here aforest at night, brought nature andorder closer together, so one couldintroduce more of the other, fromeither direction.

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My Dialog With Art Greats Robert Stanley

Notes LeWitt, Dada

Line Patches (ed. 8)mimeograph8.5 x 111970

Referencing Dada andConceptualism—not favorably, butsuperficially fun.

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Notes Hamilton, Pop Art

Room InteriorPastel, collage, spraypaint15 x 10 in.1970

Pop symbols are tinged with“Medieval” gold, suggesting howlimited in meaning are symbols andicons. The “room” has a difficultpresence in the chair—reflective ofthe complexity of the humancondition.

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Notes Rauschenburg

FOURacrylic enamel and turpoffset collage on canvas34”x42”1972

Rauschenburg didn’t go far enoughfor me, the images suggesting onlythe immediate.

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My Dialog With Art Greats Robert Stanley

Notes Wesselman, Pop

H Bathroom Bombmixed (box)14 x 14 x 4 in.1972

Extending a simple Pop scenariointo time, space, and emotionalreferences.

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Notes The Art Establishment

Homage to the ArtInstitute I (DIPTYCH)assemblage and acrylicon canvas board24 x 40 in.1972

“What we have here is a failure tocommunicate”—except amongourselves.

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Notes The Art Establishment

Homage to the ArtInstitute I (left side)assemblage and acrylicon canvas board24 x 18 in1972

Appropriation and socialcommentary, but looking beyondmere style or just the obvious.Money, status, being “wired in”—all questioned in terms of wish,reality and our bodies.

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My Dialog With Art Greats Robert Stanley

Notes The Art Establishment

–Homage to the ArtInstitute I (right side)assemblage and acrylicon canvas board24 x 18 in1972

What of communication—betweentimes, people and technology—andArt’s ability to do so?

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Notes Environmental /Installation

Two Receptors ofThreeceramic, epoxied earth,ink on gessoed boardca 22 x 18 in.1972

A questioning of the concept of theimpermanent as subject andmedium. Is it a good idea fortransitory art to eliminate itself fromthe contemplation ofimpermanence and transitorinessfor future generations bydisappearing?

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Notes Cezanne

Homage to Cézanneand Mecharcoal & chalk24 x 18 in.1973

What he learned about space, andhow we experience the time-spacecontinuum today

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My Dialog With Art Greats Robert Stanley

Notes O’Keeffe

Wanderersacrylic36 x 48 in.1977

A homage, combining the earlyand mature works of both of us.

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Notes Johns

Traces-1982acrylic36 x 48 in.1982

See Johns’ Fool’s House:Beyond the “coding” and greattechnique, or, perhaps throughthem, there is also a feeling,something of the human condition.

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Notes Chuck Close

States of Graceacrylic20”x16”1998

I like Close’s concepts. I put him ina bigger world.

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My Dialog With Art Greats Robert Stanley

Notes Bill Viola

Journeyacrylic on paper gluedto Masonite44” x 55”2000

Bill Viola’s figure in “The Crossing,”moving, moving, in my piece stopsmomentarily in the universe, auniverse that is both physical andmental.

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Notes Vincent Van Gogh

Van Gogh, I Knowacrylic18 x 18 in.2000

The dark sky, the depression

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Notes Norman Mooney

FragmentsInstallation100 ft x 80 ft.2004

Fragments of stone and clay arescattered about. Written on themare bits of stories and poetry. Alarge, mysterious artwork, "TheArtist on Site," adds possibilities.Participants can add these things totheir perception of the surroundingforest and fields. In a box arecomments by others, thatparticipants can read and add to.Fragments add up to a new, creativewhole.http://www.robertstanleyart.com/Web_Page_Fragments/

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My Dialog With Art Greats Robert Stanley

Notes Cézanne toPostmodernism

Discernibleacrylic, pigmented inktransfer, collage on36 x 48 in.2006

In Discernible I site the marvelousexpressiveness and estheticrationality of de Kooning within thegreater fabric of ezistence, whichcontain both order and randomness.

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Willem de KooningUNTITLED, 1977

Oil on paper on board 30 x41 in.

Notes Cézanne toPostmodernism

Palimpsestacrylic and canvas overleaf on canvas24 x 24 in. in.2007

There’s a dialectic betweenCézanne’s Mt. St. Victoire and thereal leaf “buried” in Palimpsestunder an attached piece of canvasin the upper right—a dialecticcommenting on process art, and artin general from mimesis to abstractto Postmodern.

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Notes Jasper Johns

Dialog with Johnsaluminum w stone base6 X 8 x 6 in.2008

Same size as Ballantine.The influence of Pop as doingsomething without particularly deepmeaning is questioned by these twoshapes which, while abstract,suggest human dialog.

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My Dialog With Art Greats Robert Stanley

Notes Cornell, Velasquez

Formscharcoal graphiteacrylic collage on linen14 x 17 in2008

Even though the artist tries to seeand reveal, his very solitariness andthe complexity of the world limithim, and leave him questioningboth phenomena and his means.Although looking back towards theviews on art of Classical Greece,the Renaissance, and Kandinsky,this piece, a counter toVelasquez’ “artist as revealer,”looks forward towards a new, lessironic and more esthetic, era.

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Notes Asian ArtYusho

Fossils Now (ed. 50)computer archival print12 x 16 in.2008

A common ground between Eastand West—and a difference. Spaceand time in each synergized.

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Notes Koons

Glamor Unaware ofNaturearchival computer print12 x 15 in.2008

The glamor and entertainment ofearly 21st Century art seems toignore the human condition. Thewolf that is nature cannot beavoided forever.

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My Dialog With Art Greats Robert Stanley

Notes Winslow Homer,Homer the Poet

The Contemplation ofNature (ed. 50)computer archival print12 x 16 in.2008

Traditions, such as the Homerpainting in the center, moveforward. Old and new seas aresailed.

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Notes Anselm Kiefer

Thinking LikeHeraclitusacrylic and collage oncanvas36 x 48 in.2008

A triangle of tar, far left, intrudesinto the flow, while other abstractreferences hint at an even greaterfield of existence.

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Notes John Cage

4”33” for 123 TACITperformance /installation6 x 64 x 24 ft.2009

Performed at Puerto Vallarta,3/9/2009 at 9:03 am CST

“Tacit,” the “silence” notation inmusic, has several references toJohn Cage, and the whole Fluxusmovement.

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My Dialog With Art Greats Robert Stanley

Notes Mark Bradford

Archaeologyacrylic on canvas20 x 16 in.2009

Bradford scrapes back to text asimage, often the history of recentpostings and writings on urbanwalls. Good stuff, but I like toscrape back to the realities of anhonest mark, or a symbol of life(sun) or a real person.

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Notes Johns, Velasquez

Las Meninasacrylic48 x 36 in.2009

Las Meninas is involved with arthistory, while still being about theflows in existence. I usedVelasquez’ figures in space andJohns’ reference to the Cosmos(from “Untitled 1992”). Velasquez’"Las Meninas" is aboutrepresentation, as is mine, whichrepresents some handmaidens(meninas) of this era.

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Notes Sam Gilliam

Resourcesacrylic, charcoal,colored pencil on48x36 in.2009

Sam Gilliam’s form of color fieldpainting, belonging to abstractexpressionism and lyricalabstraction seem to stress emotion,accident, and loveliness. Thesculptural 3D elements add nothingof integral significance. InResources, I place the accidentallybeautiful in relation to randomnessand thought.

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3 POINT 1970Acrylic on canvas 9 feet, 10inches x 24 feet, 8 inches

My Dialog With Art Greats Robert Stanley

Notes Mark Rothko

The Riveroil and

charcoal on canvas24 x 24 in.2010

Mark Rothko’s floating shapesprovide contemplation. I wonderedabout mixing abstractcontemplation and beauty withsome things the viewer couldidentify, a person, river.

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Notes Durer

The Great Grasspencil8 x 10 in2014

Durer’s marvelous “The LargePiece of Turf, 1503,” revealed theRenaissance world view. Mydrawing, its haste, dynamics,smallness in its cosmos, reveals myworldview of these times.

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Notes DaVinci

Contemplator Mundiacrylic & collage oncanvas36 x 48 in.2017

DaVinci painted a Savior, other-worldy. My figure is also other-worldy, in the sense of pulling awayfrom the world to see it moreclearly, in all its complexity.

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