This title was digitized by the Museum of Contemporary Art of Georgia (MOCA GA).
About Contemporary art/southeast. (Atlanta, Ga.) 1977-1980 | View Entire Issue (Aug. 1, 1980)
, O'a.. h\j n ’^canvas. <7hWA. £mma CONE E: c IStherCanos taigia ? up a ,ot of vvondcn; with their huge mar ™ archite «^l neon, «uspe„d5 ^ the ' n being abandoned now f ^ S,dewa,k - 1 see sr—^ ■tsta; bm I fel tteanis, Q „ Io“„dvH 0f “™™, -P'-ngth^b^ctrS^d than most with pPh of the object, though? thertb an thephoto- hne between the two. 1 warn a fin e not as a large photograph but P ,e to wew my work looking out on the object ft * ke a v/indow Sot S o^p h 0i ^ rather than statement of the¥h o a toTSphT ° fy0Ur eariier CONE: Yes, but then I vSl? ° S ° Phy? mcnt at its inception to th mentau-ts[nrep U tLnfoIllw^ refe T nS t0 the move- Pop Art. I’m in die second generat ^ ° f the 60,5 have some attitudes that a I, m'" thiss ‘^and those of the mainstream. g y d,fferen t from mattenTaSSy donTro^ ° bj ?? ivB ab ° Ut sub ject cleaning up any imS't °„ f the sub ject b y "; C '« »f>h e camera-, dcttchm “ a "' mp ‘ “ of photographic depth of uthT ,pa,ntthe illusion Some use a splatter gu n tLC u^ y ° fa lar £ c blow up ?' m gra,n - % concern is „‘| ! ! 1 , elOCrcatel '' c fcelof documentation. I don’t t * ‘ hat C,ose t0 camera strokes. I i ct the paint i n 7 ‘° . h,de aI ' the brush CA /SE: You so^J"^ ncted Way, be paS Pnmanly j n painterly concern^ *7 ^ intercs ted Cot!' Pr ° CCSSes ~ a i r brush, spbttT ' ‘ h3n the ,ecb - E; That’s true. The old l jf Un ’ and tbe bke - “mposuionandiigh,^ 6 m “ ‘* andard concerns of Jfchnicianship. N 0 t th ? ^mportant to me than Enttwanf the painting toworl a nt t ,mP0rtam bu£ I wtth an undeniable %ht. ° ng so,id forms * ** ° f ***** »w« 'w.r„ a „,; a ,t n x= r of %>« i'Si n b " ™ challenge—.‘‘-phg p y my days, and my current sunset. It’s presen!in ; ^atre’ in Memphis at ‘ he ° vera,) saturation of ta° ,Wpa,e “cformewith by the ambient glow 0^ T £e 3nd rcds «« pumt £arish brilliance of red'“with CA/SB e SiSiS2S“ p WlSofcS 3nd the painterly aspects n, latw 'thaIly ourcon f y - that th^ SX^-PeaterJyTyt Photographs. CdlWe beca use they look like CONE; Yec earlier that we are undeniably ^ aPErms what , said Painting looks like three-din- mCra onent ed. If the then it must beaphotoeranh " s,ona] reality but isn’t fr^s clearly paint. Photograph at ai], really. g^h^SS—tioHsuboutusin*, ^-uS^'^^-bepainting a«reetcomerfortwomonthTan n J tPraCtlCa,t0sit on dynamics of the urban envdron Pa ' nt a scene - The impossible f or on-lceaZ " makejt virtually detad as i put in . pa,nt,n S with as much =EX tt^ZVoT ;p,annin ^ome !” th ths same subject matter ?° U feeJ y° u ’ll stay directions? J ‘ matter or do you have other mto when t^e time tbat *’« bmnch out °» different work nlanc^i '' e got at least 10 year,; exhausted the possibility of [Lf* ^ 1 haven’t I’m i Cty v ftheatre structures yet SnV a ' n l 0Sphcre ’ and m ^ oofc mg for that theatre up ^ ^ ^ 11
