STUART DAVIS

Stuart Davis was known for his hard edge, lively abstractions that married European abstraction with a distinctly American modernism, creating dynamic works that sung with the tempo of jazz and spoke to urban existence. His work was charged with advertising motifs, sharp corners and graphic displays of color that bring rigidity alive, so to see him so loose with his hand here is both unusual and revealing. Many later artists and critic position Davis as a proto-pop artist, predating the movement by nearly four decades, and despite the simplicity of his drawing here, that remains evident. In so few lines he renders a martini and a plant and imbues them with a sense of style, of American cool. It is hard to look at this work and not see its influence of Warhol’s drawings of the 1950s and 60s, capturing a mood and a time with vivid feeling and minimal detail. 

EDGAR DEGAS

Combining fragility with experimentation, Degas tried to match the mediums of depiction with the subjects themselves. From the view of the orchestra pit, our sightline obscured by the curving, almost sensual necks of the double basses, we see dancers in rehearsal. They lean and whisper, observing the prima ballerina as she stand en pointe, and we become voyeurs to unfinished artistry, and the process of alchemy through which movements of bodies becomes transformative art. To capture this, Degas used a most unusual technique. First, he created a monotype print - painting directly onto a smooth plate of glass and then transferring the image to paper through a press, creating an unrepeatable printed image. Atop the monotype, he used a fine pastel to add color, detail, and texture, the powdery medium resting atop the printed image to create a sense of ethereality that matches the dancers. The technique is wildly experimental, matching the traditional material of pastel with the rarely used, more modern monotype print to create a work that is, at every level of its creation, about the strange, magical alchemy that can happen on stage, or on paper, to produce art.

HAROLD EDGERTON

Solid lead is heated until molten, poured through a copper sieve and allowed to fall down the length of a tower. The surface tension experienced in its decline forces the fragments into perfect spheres which are caught and called by a pool of water, and the lead shots go on to be used as projectiles for shotguns, ballasts, and shields for radiation. The process is beautiful in its simplicity, rigorously scientific in development and yet wildly raw, almost naive in its process yet to watch it with the human eye would be to see little but a wall of falling heat. It took Harold Edgerton, the man who stopped time as he became known, to demystify the process and turn it into aesthetic beauty. Edgerton developed stroboscope, and with it the entire field of high-speed photography. Where the camera had long been used as a way to capture the world around us, Edgerton used it as a scientific instrument to reveal the unseeable. Edgerton, using strobe lights and high sensitive film, turns a process that harnesses nature for violent ends into something ethereal, sublime, and deeply human.