Brice Marden - Life

Life

Marden was born in Bronxville, New York and grew up in nearby Briarcliff Manor. He attended Florida Southern College, Lakeland (1957 to 1958), receiving his BFA from the Boston University, School of Fine and Applied Arts in 1961. Marden earned his MFA from the Yale School of Art and Architecture (1963), where he studied with Esteban Vicente, Alex Katz, Jon Schueler, Jack Tworkov, Reginald Pollack, Philip Pearlstein, and Gabor Peterdi. Among his fellow students were the future artists Richard Serra, Chuck Close, Nancy Graves, Gary Hudson and Robert Mangold.

It was at Yale that Marden developed the formal strategies that would characterize his drawings and paintings in the proceeding decades: a preoccupation with rectangular formats, and the repeated use of a muted palette. In his early work of the 1960s and 1970s, he used simplified means, typically monochrome canvases either alone or in series of panels, diptychs or triptychs. These include the works The Dylan Painting, 1966; "1986" (now in the collection of San Francisco Museum of Modern Art); 1969's Fave (the Jack S. Blanton Museum of Art, University of Texas at Austin); and Lethykos (for Tonto), 1976 (The Museum of Modern Art, New York).

Read more about this topic:  Brice Marden

Famous quotes containing the word life:

    The deadly monotony of Christian country life where there are no beggars to feed, no drunkards to credit, which are among the moral duties of Christians in cities, leads as naturally to the outvent of what Methodists call “revivals” as did the backslidings of the people in those days.
    Corra May Harris (1869–1935)

    Television ... helps blur the distinction between framed and unframed reality. Whereas going to the movies necessarily entails leaving one’s ordinary surroundings, soap operas are in fact spatially inseparable from the rest of one’s life. In homes where television is on most of the time, they are also temporally integrated into one’s “real” life and, unlike the experience of going out in the evening to see a show, may not even interrupt its regular flow.
    Eviatar Zerubavel, U.S. sociologist, educator. The Fine Line: Making Distinctions in Everyday Life, ch. 5, University of Chicago Press (1991)

    Since the Greeks, Western man has believed that Being, all Being, is intelligible, that there is a reason for everything ... and that the cosmos is, finally, intelligible. The Oriental, on the other hand, has accepted his existence within a universe that would appear to be meaningless, to the rational Western mind, and has lived with this meaninglessness. Hence the artistic form that seems natural to the Oriental is one that is just as formless or formal, as irrational, as life itself.
    William Barrett (b. 1913)