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...today, the railing has been replaced by a slack plastic chain looping among short poles that the crowd repeatedly knocks over, and Winters?? white ribbon means absolutely nothing, he says...

Author: By Nathan J. Heller, CRIMSON STAFF WRITER | Title: Sorting Through ‘The Count’ | 11/5/2003 | See Source »

Looking at a retrospective collection of any artist will often reveal interesting transitions in his or her work, and the Metropolitan Museum of Art’s exhibition of New York-based artist Terry Winters??s lithographs, etchings, and prints is no exception...

Author: By J. hale Russell, CRIMSON STAFF WRITER | Title: Big Apple Art | 1/11/2002 | See Source »

...Winters?? early compositions are abstracted yet resonate with organic forms—the intricate simplicity of biological shapes, cells, and embryos. The compositions are balanced and relaxed; the “messy” aspects of the lines, forms and backgrounds add to the sense that nature may not be perfect or symmetrical, but it is nonetheless elegant and beautiful. The exhibition includes etchings of his sketches of nature, “Field Notes” (1992), which neatly demonstrate the link between the reality he observes and the abstracted work he creates. Botanical and zoological forms...

Author: By J. hale Russell, CRIMSON STAFF WRITER | Title: Big Apple Art | 1/11/2002 | See Source »

...Much of Winters?? graphic work is in the form of exquisitely designed portfolios, each exploring a united theme with significant variations. In the 12-etching “Models for Synthetic Pictures” (1994), which is less objective than his earlier biological drawings, Winters explores geometrical shapes with vivid use of color and relaxed, almost childlike forms. A page of text on Winters?? theory on the components of images describes what element is expressed by each subsequent print. The work maintains the intricacy and complex use of patterning of his early prints, and explores...

Author: By J. hale Russell, CRIMSON STAFF WRITER | Title: Big Apple Art | 1/11/2002 | See Source »

...Winters?? more recent work has tended to the “electronic,” making visible the inorganic topology of networks and “information matter.” In some ways, the interweaving lines of the work may begin to indicate his confrontation of the legacy of Jackson Pollock. However, Winters?? webs, supposedly representative of an boundless and dynamic “space,” do not lend themselves well to the finite space of the prints. They feel constrained and cluttered, lacking the delicate elegance of his earlier prints. Although...

Author: By J. hale Russell, CRIMSON STAFF WRITER | Title: Big Apple Art | 1/11/2002 | See Source »

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