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I work on a canvas in layers over days or weeks. Acrylic is the perfect medium for me because it dries fast. I work quickly while the paint is wet, covering the whole canvas. The next day I rework it. The painting’s past affects its present, leaving traces and influences that subtly or dramatically guide what happens next. When I go to the blank canvas it is upright on an easel. I paint standing up, with my stereo blasting anything from Dave Brubeck’s “Take Five,” Laurie Anderson’s “Strange Angels,” Leonard Cohen’s “I’m Your Man,” to “El Condor Pasa,” flute music from the Andes. The rhythms, beats and patterns I hear create a mood that is reflected in the lines, shapes and colors on my canvas. It is an active process that demands a looseness and openness to whatever might happen. I dig deep for the pains and passions--the inexplicable energy and exhaustion of daily life--to express them in a large gesture. I struggle with the canvas, building it up and breaking it down. Very often a hideous accident occurs: the paint does not flow evenly from the tube; colors clash in vibrant abandon; irregular drips and splotches dot the surface. My eye is offended by what it sees. My desire is to tease this ugliness, this unlikely blend of colors and shapes, this painting’s lurid history, into a visual symphony. I foreground the ghosts of a painting’s past, highlight the error of its ways, coax its indeterminism into strength of purpose. Look closely and you will see a mess. Stand back and the painting’s organic life plays out in front of you. There is always a tension between abandon and control. It is a risk to let the brush or palette knife sweep across the canvas without knowing what will happen. Sometimes the result is an amazing gift, but more often it is a challenge that requires much patient looking to see what the painting requires in order to complete itself. Space is there to be enclosed and disclosed—defined or defiled by line, shaped and misshaped by form, and teased into revelation through color. Form. Line. Color. Some days we dance together, some days we engage in a bloody fistfight. The painting session is over. The paint dries. The next day I start again.
Biography: Solo Exhibitions New Work by Lynne Taetzsch, Clinton House ArtSpace, Ithaca, NY 2001 Improvisation in Color, Community School of Music & Art, Ithaca, NY, 2000 Recent Paintings, Tompkins Cortland Community College, Dryden, NY, 2000 New Acrylic Paintings, Gallery for the Arts, Mt. Sterling, KY, 1998 Recent Works, Astrea Gallery, Washington, DC, 1991 Acrylic Paintings, Division of Cultural Affairs Gallery, Tallahassee, FL, 1990 Selected Paintings, President's Gallery, Florida State University, Tallahassee, FL, 1990 Recent Acrylic Paintings, Hartley Gallery, Winter Park, FL, 1990 Paintings by Lynne Taetzsch, Friends of Jung, San Diego, CA, 1988 Oil Paintings, The Revelation, New York, NY, 1971 Recent Oil Paintings, Paula Insel Gallery, New York, NY, 1964 Group Exhibitions Fifteenth Anniversary Group Show, State of the Art Gallery, Ithaca, NY 2003 Women’s Issues—A Commentary, Avenue Art Gallery, Endicott, NY 2003 Past Tense—Present Perfect, Autumn Leaves, Ithaca, NY 2003 Redefining Art, Avenue Art Gallery, Endicott, NY, 2002 Summer Invitational, Period Gallery, Omaha, NE, 2002 2002 Invitational, State of the Art Gallery, Ithaca, NY, 2002 Greater Ithaca Art Trail at Red Newt Cellars, Hector, NY, 2001 A Woman's Work Is Never Finished, International Museum Gallery, Baltimore, MD, 2001 Greater Ithaca Art Trail at Red Newt Cellars, Hector, NY, 2000 Recent Works by Lynne Taetzsch & Wyman Rice, The Kentucky Gallery, Lexington, KY, 1999 Six-person Show, Soho South, West Palm Beach, FL, 1999 Juried Show, 33rd Annual Central South Art Exhibition, Nashville, TN, 1998 Juried Show, Masterpieces of Maturity, Loudon House, Lexington, KY, 1998 Juried Show, Art on the Lake, Reston Art Gallery, Reston, VA, 1992 2nd Ann. Cultural Resources Juried Exhibition, LeMoyne Art Foundation, Tallahassee, FL, 1992 Three-person Show, Artforms Gallery, Sarasota, FL, 1991 Tenth Annual September Competition, Alexandria Museum of Art, Alexandria, LA, 1991 Juried Show, Hoyt National Art Show, New Castle, PA, 1991 Juried Show, Aesthetics 91 Exhibition, McPherson, KS, 1991 Juried Show, Westmoreland Arts National, Greensburg, PA, 1990 Juried Show, Thirteenth National Art Exhibition, World Trade Center, New Orleans, LA, 1990 First Place Prize, Juried Show, Foothills Festival of the Arts, La Mesa, CA, 1989 Exhib.of Korean and American Women Artists, Modern Art Gallery, Los Angeles, CA, 1989 Group Show, Cosmopolitan Art Association, Seoul, So. Korea, 1988 Three-person Show, Robin Hutchinson Gallery, Maplewood, NJ, 1987 National Juried Color Show, Castle Gallery, Billings, MT, 1985 Group Show, Art in Architecture, Windermere, FL, 1985 Group Show, Goff Galleries, Winter Park, FL, 1985 Group Show, Ithaca House Gallery, Ithaca, NY, 1972 Juried Show, Donnell Library, New York, NY, 1964 Juried Show, Dollar Savings Bank, New York, NY, 1964 Group Show, Design Center-Mason Art, New York, NY, 1964 Emily Lowe Competition, New York, NY, 1964 Bibliography “Trendsetters: Emerging Artists,” Art Business News, February, 2002 Stan Bowman, "Color Contrast," The Ithaca Times, 12/12/01 David Minton, "Poet's Art About 'Play, Ambiguity," Lexington Herald, Lexington, KY: 1/11/98 Ex. Catalog, Tenth Annual Sept. Competition, Alexandria Museum of Art, Alexandria, LA: 1991 "Three Worlds at Artforms Gallery," Pelican Press, Siesta Key, FL: 12/27/00 P. Foster, "Artist Evokes Colorful Mindscapes," Florida Flambeau, Tallahassee, FL: 7/5/90 Rebecca Stephens, "Taetzsch's Paintings Erupt with Riot of Color and Motion," Florida Flambeau, Tallahassee, FL: 12/27/90 "The Prez's Place," Tallahassee Democrat: 6/15/90 "One-Woman Show," Tallahassee Democrat: 11/9/90 Ex. Catalog, Korean and American Women Artists, Modern Art Gallery, Los Angeles, CA "Lynne Taetzsch chez Paula Insel," France-Amerique: 3/1/64 "Paula Insel," Park East, New York, NY: 2/20/64 Art Publications Color reproduction of acrylic painting on cover of Hot Flashes: Women Writers on the Change of Life, Faber & Faber, 1995 Color reproduction of acrylic painting on cover of Spring, 1990 issue of Sundog Reproduction of acrylic painting on cover of Spring, 1989 issue of Pacific Review Line drawing in Fall, 1988 issue of Pacific Review Reproduction of acrylic painting and line drawings in multi-genre, multi-media essay "Hang the Critic 'and/both' Resurrect the Author," in Fall, 1989 issue of Central Park "Abstract without the Static," article in Exhibit Magazine of Art, May/June 1986 Teaching San Diego State University, Adjunct Professor, 1988-1989 George Washington University, Assistant Professor, 1991-1994 Morehead State University, Associate Professor, 1994-2000
Country: United States
E-mail: lt@artbylt.com
