Published by David Zwirner Books. Text by David Cohen, Suzan Frecon.
This volume is the most vivid presentation to date of Suzan Frecon's (born 1941) engagement in her studio practice with natural light--the always-varying subtleties of which she integrates into how the painting is created. The focal point of the catalogue is the painstakingly reproduced color plates of 14 recent paintings, many of which are depicted several times in various types of light and from multiple angles, allowing the reader to experience the work in a way that is more akin to seeing them in person. It also features an essay by art writer David Cohen that strives to explain the complexity of viewing and experiencing Frecon's work. Rounding out the catalogue are numerous details and installation views, atmospheric color photographs of the artist's studio and materials, and an illustrated visual appendix showing a selection of Frecon's reference sources for the works, including commentary by the artist.
Over the past four decades, New York-based artist Suzan Frecon (born 1941) has become known for abstract oil paintings and watercolors that are at once reductive and expressive. While she has described oil painting as her primary focus, watercolor has played a vital role in her process, as both a form of study for the larger oil paintings and as an outlet for a looser, more gestural style. As with her oil paintings, Frecon’s works on paper continue her investigation of a highly allusive, geometric and yet still organic abstraction; mostly small in scale, they are remarkable for their quiet presence and power. Suzan Frecon: Paper is published to coincide with an exhibition at David Zwirner in New York, and features over 50 watercolors, a few small oil-on-panel works and a collection of excerpted texts and poetry selected by the artist.
American abstract painter Suzan Frecon (born 1941) is known for her monumental and balanced nonrepresentational works, in which geometric proportion and a keen attention to color yield deeply satisfying compositions. In 2007’s “Embodiment of Red, Version 1,” for example, two curved forms hug the horizons of the canvas’s bottom and equator, describing four regions in various vibrant oxide tones. “I always craved geometric solutions,” she has said. “They underlie so many things: architecture and old paintings that are informed by geometry, like Cimabue, Romanesque cathedrals, churches. You have the structure of the building and then you have the curves of the architecture and then within that you have the painting and within that you have the art.” In recent years, Frecon has had a major solo exhibition at the Menil Collection in Houston and work included in the 2010 Whitney Biennial. This volume presents her most recent oil paintings.