Texas Trends in Art Education, Volume 3, Number 1, Fall 1985 Page: 27
This periodical is part of the collection entitled: Texas Trends in Art Education and was provided to The Portal to Texas History by the Texas Art Education Association.
- Highlighting
- Highlighting On/Off
- Color:
- Adjust Image
- Rotate Left
- Rotate Right
- Brightness, Contrast, etc. (Experimental)
- Cropping Tool
- Download Sizes
- Preview all sizes/dimensions or...
- Download Thumbnail
- Download Small
- Download Medium
- Download Large
- High Resolution Files
- IIIF Image JSON
- IIIF Image URL
- Accessibility
- View Extracted Text
Extracted Text
The following text was automatically extracted from the image on this page using optical character recognition software:
painting you did?
ED: Yes, I kind of think that it was. I had
done some back in the past, but since I
started using media images and photos
as sources, it may have been.
GREG: And it was a more singular-type im-
age rather than the combined ones you
had been using previously?
ED: That's right. There was a change right
there.
At about this point, Blackburn's concern for
the integrity of the picture plane took on
new dimensions. He would render large
paintings utilizing his distinctive cross-hatch
brushwork to emulate the quality of a media
image. Then, on the surface of the painting,
he would crudely render line drawings and
brief, handwritten remarks of a nonsensical
nature. The impression gained when stand-
ing in front of the painting is similar to stand-
ing (close) in front of a billboard image onto
which children have scrawled graffiti. Not for
one moment do you lose awareness of the
fact that that picture plan is flat.
Around 1980 this concern caused him
to combine installations with his paintings tocall into doubt that line of demarkation be-
tween the painting and the "real" world. An
excellent example of these environmental
constructions is Still Life with Elvis Movie
and Blue Boy (1981). (See reproduction.)
These issues are wonderfully crys-
tallized in a recent work Still Life with
Elvis Movie and Blue Boy (1981). Here
the illusionistic black-and-white render-
ing of a scene from an Elvis Presley
movie is convoluted by the hanging of a
small, framed color reproduction of
Thomas Gainesborough's famous paint-
ing on top of the Elvis painting. Imme-
diately the movie scene's virtual space
is thown into question .... (Stone, K.
& Thistlethwaite, M., 1982, p. 5).
MARVIN: Speaking of the installations-you
know, the large paintings with furniture
and so forth placed in front of or on
them-. Of course, I realize that one of
the things you were doing was to kind
of shock the viewer into realizing that,
hey, this is a two-dimensional picture
plane, and it's not a "hole in the wall" or
that sort of illusionistic space. In one, Ithink you even hung a framed print of
the Blue Boy on it-.
GREG: Yes, the still from an Elvis movie-.
MARVIN: Which is really kind of a shock
when you look at it, you know? Do you
have any comment about that-other
than the fact you were preserving the
picture plane?
ED: Well, that's a really strong part of the
motive-. I wanted it to sort of be a
wall, an environment. Something that
could have several ways of existing-.
It could be a painting that you could
hang on a wall, but it could actually be-
come a wall in itself. It was a way of re-
seeing it physically and as a metaphor.
I mean, it had an interesting way to
exist-with the idea of the wall being a
kind of atmosphere, an environment,
and the media image being kind of an
atmosphere. I like the way those two
interrelated.
MARVIN: Kind of an interplay between the
illusion and the knowledge that that is
what it is-
LINDA: The table with the still life that set
in front of the painting represents a kindGallery, Houston
TRENDS / fall 1985
Upcoming Pages
Here’s what’s next.
Search Inside
This issue can be searched. Note: Results may vary based on the legibility of text within the document.
Matching Search Results
View five pages within this issue that match your search.Tools / Downloads
Get a copy of this page or view the extracted text.
Citing and Sharing
Basic information for referencing this web page. We also provide extended guidance on usage rights, references, copying or embedding.
Reference the current page of this Periodical.
Texas Art Education Association. Texas Trends in Art Education, Volume 3, Number 1, Fall 1985, periodical, Autumn 1985; Dallas, Texas. (https://texashistory.unt.edu/ark:/67531/metapth279681/m1/29/?q=architectural+drawings: accessed July 18, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Texas Art Education Association.