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Terry Winters (born 1949, Brooklyn, NY) is an American painter, draughtsman, and printmaker whose nuanced approach to the process of painting has addressed evolving concepts of spatiality and expanded the concerns of abstract art. His attention to the process of painting and investigations into systems and spatial fields explores both non-narrative abstraction and the physicality of modernism. In Winters’ work, abstract processes give way to forms with real word agency that recall mathematical concepts and cybernetics, as well as natural and scientific worlds. ==Life and Work== Originally from Brooklyn, NY, Terry Winters studied at the Pratt Institute where he earned his B.F.A. in 1971. Interested in Minimalism and its exploration of painting’s conventions, Winters began to think against the reductive tendencies of the then dominant Formalist abstraction while maintaining hard won modernist sensibility of non-narrative abstraction.〔Kimmelman, Michael. "Art View; Cells, Crystals, Bugs and Shells, Rendered in Paint." ''New York Times'', 8 March 1992.〕 For ten years following his graduation from the Pratt Institute Winters worked quietly and deliberately, not showing his work publicly and watched quietly by a small group of fellow artists, including Jasper Johns. During this time, Winters explored his interest in Process Art, collecting books on pigments such as Pliny the Elder’s ''Natural History''. These studies, combined with his interest in building paintings ″from the ground up″, led him to explore making his own pigments, introducing him to the study of biology and mineralogy (and eventually to empirical information systems) and these fields’ associative and metaphoric potential.〔Phillips, Lisa. ″The Self Similar.″ In ''Terry Winters. New York: Whitney Museum of American Art'', 1992.〕 In 1977, Winters had a significant encounter with landscape while he lived in New Mexico to help construct the earthwork ''Lightening Field'' by Walter de Maria.〔 By the late 1970s, Winters was using pigment to investigate the referential nature of painting. Soon after, his focus shifted to the illusionism inevitable in painting, how mark making and process create illusions that give way to non-representational spatial dimension.〔 This approach is evident in Winters’ first exhibition in 1982 at Sonnabend Gallery. Here, gestures and modules create complex paths and grounds that premiere Winters’ nuanced painting method.〔Juncosa, Enrique. ″Thought as Image.″ In ''Terry Winters''. Valencia, Spain: La Imprenta, Comunicación Gráfica, 1998. 17-18.〕 Terry Winters has since exhibited widely, joining a group of contemporaries – such as Tony Cragg, Bill Jensen, and Stephen Mueller – engaging with organic abstraction and constantly changing thought on visuality impacted by evolving technology.〔 Throughout the 1990s and onward the scale of Winters’ work and its visual complexity has grown considerably. Continuing to take from the natural sciences and information systems, amongst other subject matters, the construction of his compositions has transitioned from occupied fields to plaited grids and networks that offer unpredictable images.〔″Terry Winters in conversation with Phong Bui, David Levi Strauss, & Peter Lamborn Wilson.″ ''The Brooklyn Rail'', December 2008/January 2009. 22-25.〕 Winters reforms his subjects to maintain their resonance and referentiality – what one sees in his compositions is ambiguously familiar – while waxing to an analog for the act of their making.〔Kertess, Klaus. ″Metaphorically Painting.″ In ''Terry Winters. Luzern, Switzerland: Kunstmuseum Luzern'', 1985. 13-14.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Terry Winters」の詳細全文を読む スポンサード リンク
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