Foam Chrome II, Gary Pruner

Artwork Overview

Gary Pruner, Foam Chrome II
Gary Pruner
1973
Foam Chrome II, 1973
Where object was made: United States
Material/technique: oil; canvas
Dimensions:
Canvas/Support (Height x Width x Depth): 142.2 x 106.7 cm
Canvas/Support (Height x Width x Depth): 56 0.9843 x 42 1/2 in
Credit line: Museum purchase: Gift of Mr. and Mrs. Darwin Daicoff
Accession number: 1973.0083
Not on display

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Exhibition Label: "Dreams and Portals," Jun-2008, Kris Ercums and Susan Earle Intro Label: This summer display features selections from the Spencer’s permanent collection, including works that may evoke dreams and ideas of place, near and far. The works range in media from painting and watercolor to collage, textile, and video. Some may transport you to other places, such as the lyrical "Blue Door (La Porte Bleue)" by French artist Pierre Lesieur. Reflecting the artist’s travels to North Africa, this painting evokes the sea or an open door in a way that suggests a dream, or a portal. Many works feature abstract imagery, at times suggestive of dreams, or passages to other landscapes, be they of the mind or actual places. Others combine abstraction and figuration, like the William T. Wiley drawing "Feeding Time." Others teeter between realism and abstraction, such as "Foam Chrome II" by Gary Pruner. A portal can be defined as a door or gate or entrance, especially a grand or imposing one. Paintings themselves are like portals. They allow us to enter worlds and spaces like nothing else can. Let your mind wander and see what dreams you might recall, or what new perspectives you might gain. Label: This painting connects to Photorealism of the 1970s, a practice characterized by photographic exactness and the imitation of photography in paint. Here, artist Gary Pruner simulates the “out of focus” elements of a photograph in the background of his painting. But unlike some of the more urban-focused Photorealist artists, Pruner fabricates an indoor, “unreal” situation for his canvas. The painting’s “realism” leans toward abstraction.

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