Diptych (Roses, Stripe, Morning Glory), 2010
Ann Craven ( American, 1967 )
In Diptych (Roses, Stripe, Morning Glory), 2010, Ann Craven revitalizes the floral still life, which had been historically marginalized as a subgenre, seen as little more than the byproduct of a charming amateurism, and minor art making. The still life is accompanied by a “band” or “stripe” painting. An essential part of her practice, the stripe paintings operate as a visual document of mixed colors—the palettes form an index for future reference so that the artist can revisit them in subsequent paintings. They also serve as a technical exercise before commencing a painting. On this process, Craven states, “My paintings are a result of mere observation, experiment, and chance and contain a variable that’s constant and ever-changing—the moment just past. The stripes are so I can see what I just mixed. The mixing process is a very unconscious progression and so the stripes are a way to list the colors that I just painted. It is a memory and a documentation of the work at the same time.” This visual archive reflexively serves as both a record of her process and as a formal juxtaposition to the more gestural painting. It also reveals, beyond the more lighthearted and whimsical subject matter, an almost obsessive and serial organization of the world.
- Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 264.