DescriptionSUSAN CRILE (American, b. 1942)
Wide Reach, 1983
Oil and gesso on canvas, in three panels
72 x 84 inches (182.9 x 213.4 cm)
Signed, titled, dated, and inscribed verso: Wide Reach 1983 / Oil & gesso on canvas / 3 panels / center: 72" x 48" / sides, each 24" x 18" / overall dimension / 72" x 84" / Susan Crile / panels 2: center of 3
Graham Modern, New York, 1985;
Texas National Title Company, Houston, Texas;
Private collection, Houston, Texas, acquired June 1985.
E. Frank, Susan Crile: Recent Paintings, Cleveland Center for Contemporary Art, exhibition catalogue, 1984, cover, illus;
L. Krantz, American Art Galleries, The Krantz Company Publishers, Inc., 1985, p. 199;
M. Clark, The World is Round: Contemporary Panoramas, The Hudson River Museum, exhibition catalogue, 1987, pp. 50-51, illus.
Cleveland Center for Contemporary Art, Cleveland, Ohio, "Susan Crile: Recent Paintings," March 30-May 12, 1984;
Edith C. Blum Art Institute - Bard College Center, Annandale-on-Hudson, New York, "Contemporary Triptychs," June 3-July 15, 1984 (label verso);
Graham Modern, New York, "Susan Crile: Recent Paintings," March 14-Apri 13, 1985 (label verso);
The Hudson River Museum, Yonkers, New York, and elsewhere, "The World is Round: Contemporary Panoramas," November 20, 1987-February 26, 1989.
Susan Crile describes her work as follows:
Since I started to paint in the early sixties, perception has been a central theme of my work. Initially, I painted still lifes, vegetables, and plates on patterned grounds, seen from multiple perspectives from a close-up bird's eye view. Next, I painted configurations of Caucasian carpets, flat, warped, draped, bunched, seen from both sides of the mountain, pulling up to the surface aspects of the unseen. Then I moved back, took the long view, the aerial view of land masses based on topographical maps and the character of land and water - the looking at while being in. The curvature of time and space was the beginning of abstraction for me.
When I speak of space, I do not refer merely to a formal phenomenon, of a space that is here or there, doing this or that. Rather, I mean it as a metaphor of our time. Just as Renaissance perspective discloses a belief system of humanism and science for the fifteenth century, so the fragmented space of the late twentieth century speaks of the change in communication systems, the shrinking of the world, and the breakdown of boundaries. Space and time are no longer an unbroken continuum.
It is within this context that I have been making paintings which go around the corner or possess the corner - which span, yet break. The wall is an energized active field or matrix upon which these shards of painting attract and repel. The viewer is called upon to collate these images. He or she is an active element of the painting, a player in this participatory universe. ("The Particpatory Universe," The World is Round: Contemporary Panoramas, Yonkers, New York, 1987, p. 51)
Estimate: $6,000 - $8,000.
There appears to be a few spots of faint craquelure within the right half of the blue section of the middle canvas; otherwise, no visible condition issues. Not framed.
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