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preconceptions associated with painting as a medium. Vellum, gesso, gouache, plywood and beeswax are among the materials
Kretschmer inventively employs. Joining such materials to one another in the manner of collage, her process is one based in both improvisation and meticulousness. These fragments are often measured to a fraction of an inch, but Kretschmer firmly pushes back against precision in favor of accuracy. All of such deliberate gestures work to play with the experience of looking, and play with the viewer's perception of flatness and dimensionality. In 1992 her work was included in the exhibition
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horizontal expanses subdivided and punctuated by slender vertical bands of restrained color. As we approached, we realized the complexity of these subtle works, which proved to depend on shifts in level, both excavated and built up, so that our perception of the colored bars was altered by changes in plane. With closer inspection, we discovered nuances of surface, fragile edges, and evidence of aggressive manipulation of materials. Kretschmer's work spoke quietly, slowly declaring its presence among more raucous neighbors and more than holding its own.
76:'s "post-painterly" abstraction was giving way to multiform "pluralism." Kretschmer and artist Martin Kline represented the relatively younger generation of process/image painters embodying the inheritance of this turn. For her work in the show, multiple pieces in a range of sizes, Kretschmer garnered considerable attention with one critic going so far to say that "stole the show." In
64:. The exhibition featured sixteen painters—half of them Americans, half Belgians, and was mounted at the historic Vanderborght building and Cinéma Galeries in Brussels. In this extensive survey, accompanied by a catalogue, Rose sought to encourage exchange and assert the need for a new discussion surrounding the condition of contemporary painting. The American painters, including
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At the other end of the spectrum were
Melissa Kretschmer's pale, delicate constructed paintings, built of wood, vellum, gesso, and gouache. From a distance, across the generous spaces of the Vanderborght, Kretschmer's constructions read as elegant meditations on interval and proportion, enacted by
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Over the course of 25 years, Kretschmer has maintained a rigorous practice of producing deceptively minimal paintings. Her works have been compared to valentines, reliquaries and hermetically sealed vaults. Kretschmer makes use of a variety of materials and techniques that work to redefine formal
22:(born 1962, Santa Monica, California) is an American contemporary artist known for her hybrid sculpture/painting works. She has exhibited extensively both nationally and internationally. She lives and works in New York City.
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60:curated by art historian, filmmaker, and curator
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101:Inside Out – Martin Kline and Melissa Kretschmer
140:Melissa Kretschmer/Carl Andre: A Conversation
147:Images/After Images: More Than Meets the Eye
117:, Madison Museum of Contemporary Art, 2006.
30:Kretschmer received a MFA and BFA from the
212:Painting After Postmodernism: Belgium-USA.
58:Painting After Postmodernism: Belgium-USA,
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16:American contemporary artist (born 1962)
214:Artforum. Vol. 55, No. 5, January 2017.
136:, Kunst-Station Sankt Peter Köln, 2003.
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227:The Huffington Post. October 6, 2015.
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263:Interviews: Barbara Rose
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