Տ Ա Ր Ա Գ Ի Ր Ն Ե Ր Ն Ո Ւ Ե Ր Ա Զ Ո Ղ Ն Ե Ր Ը . E X I L E S A N D D R E A M E R S
50 կան , ի նք նա հո րին ված քային ստեղ ծա գործա կան վի ճա կի մեջ ը նկղմու մը , ար ձա գանքում է նկար չի լե գեն դար հայ րե նա կից և վաղ շր ջա նի հե ղի նա կու թյուն նե րից մե կի ՝ Ար շիլ Գոր կու կ յան քի շա ռավղին : ( ՎԳ )
Edward Avedisian
1936 Lowell MA , USA – 2007 Philmont NY , USA
Among the American-Armenian artists of the post-war era , Edward Avedisian ’ s name is rarely mentioned in the context of ‘ diasporan- Armenian ’ art despite , or perhaps because of this artist ’ s role in the emergence of Color- Field abstraction .
Educated at the Boston Art Museum School , Avedisian made his way to New York in the 1950s , becoming one of the many emerging artists who were trying to expand the declining vocabulary of Abstract Expressionism . Sometime in the early 1960s , Avedisian started painting a series of simple circular shapes within large rectangles of flat color . Traces of brushwork and gesture disappeared entirely , leaving only the pure relationships between the colors and the space of the canvas . Thus , optical dynamics defined the painting ’ s structure , which became multilateral and without an anchoring point . The effect was decorative , playful and coolly cerebral at the same time .
Գրականություն Peter McGough , I ’ ve Seen the Future and I ’ m Not Going : The Art Scene and Downtown New York in the 1980s , Knopf Doubleday , 2019 , pp . 92-94 ; Roberta Smith , ‘ Edward Avedisian , 71 , Artist Who Painted Bold and Bright ’, The New York Times , August 23 , 2007 , p . 13
This was a synthetic style that , according to art critic Roberta Smith , ‘ combined Minimalism ’ s rigor , Pop ’ s exuberance and the saturated tones of Color Field painting ’. Reflecting the anarchic sensibilities of the Pop-Art movement while aligning itself with the philosophical aspirations of Minimalism , Avedisian ’ s work proved to be a success with collectors and contemporary art institutions alike , with both Whitney and The Metropolitan museums acquiring his paintings for their collections . Soon , however , the artist retracted from the tightly regimented structure of these series . He also began producing lithographic prints , which compelled him to explore more complex ways through which color could operate as space . Tide Light dates from this period , in which the artist used similarly-toned stripes to produce quivering landscapes of color rays . These images are imbued with transcendental and cosmic associations that Avedisian – like many others of his generation – sought under the influence of chemical drugs .
© Cafesjian Museum Foundation
« Մակընթացության լույս », 1967 Թուղթ , գունավոր վիմատպություն
Tide Light , 1967 Color lithograph , paper