Quiet Intersections: The Graphic Work of Robert Kipniss
January 26- May 15, 2016
The language of abstraction exists within the universe of images.
Robert Kipniss’ pictorial style had largely matured by the time he made his first print in 1967. He had effectively transitioned from painting realistic landscapes, such as the rocky escarpments of the northern end of New York’s Central Park, to pictures that remained recognizable yet were composed of unrelated, sometimes imaginary, elements. The evolution was propelled by the artist’s growing conviction that his representational imagery didn’t have to reproduce visual reality. He learned that painting what you see could include what was seen by the mind’s eye.
His move into printmaking was initially spurred by commercial considerations but over a relatively short time frame Kipniss developed an aesthetic interest and facility for the medium. His prints examine subjects similar to his paintings but offer different insights, often reflecting the print medium’s particular visual and technical characteristics of line and tone. Consequently Kipniss became more and more recognized as a printmaker and gained a new cadre of collectors who were particularly interested in his graphic output.