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ART; A New Gallery, a Display of Prints and a Touch of Manhattan'Vital Trees,' A Princeton Show The University League of Princeton University has its own gallery and a full schedule of shows but, a venerable institution of some 75 years, it does not aggressively seek publicity. Previous exhibitors have included artists on the order of Marguerite Doernbach, but the present incumbent, William Knight, is a lesser-known, albeit with many appearances in group shows to his credit.To the degree that he
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ART; A New Gallery, a Display of Prints and a Touch of Manhattan'Vital Trees,' A Princeton Show The University League of Princeton University has its own gallery and a full schedule of shows but, a venerable institution of some 75 years, it does not aggressively seek publicity. Previous exhibitors have included artists on the order of Marguerite Doernbach, but the present incumbent, William Knight, is a lesser-known, albeit with many appearances in group shows to his credit.To the degree that he
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ART; A New Gallery, a Display of Prints and a Touch of Manhattan'Vital Trees,' A Princeton Show The University League of Princeton University has its own gallery and a full schedule of shows but, a venerable institution of some 75 years, it does not aggressively seek publicity. Previous exhibitors have included artists on the order of Marguerite Doernbach, but the present incumbent, William Knight, is a lesser-known, albeit with many appearances in group shows to his credit.To the degree that he
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Newspaper Article
ART; A New Gallery, a Display of Prints and a Touch of Manhattan'Vital Trees,' A Princeton Show The University League of Princeton University has its own gallery and a full schedule of shows but, a venerable institution of some 75 years, it does not aggressively seek publicity. Previous exhibitors have included artists on the order of Marguerite Doernbach, but the present incumbent, William Knight, is a lesser-known, albeit with many appearances in group shows to his credit.To the degree that he
1993
Overview
Jim Dine leads the way with a 1976 etching of the Eiffel Tower exploding like an oil well above the words, \"Paris Smiles\" in sans-serif lettering. He is accompanied by Frank Stella in his \"lyrical\" Minimalist mode with a 1973 lithograph of two striped squares, one black and white, the other in color. With the appearance of William Brice's small etchings, monochrome and colored, emerges a hint of the dealer's preference -- for small shapes drawn in fine lines and suspended against smudgy backgrounds. Grace Markham, an artist new to this observer, achieves a similar effect in \"Foxtrot,\" a rectangle in which shapes -- a house, vegetation and possibly clouds -- hang like doodles touched here and there with color. Tom Marioni's color woodblock of the pi symbol, printed in blood red on white silk, looks as Oriental as \"Flying Yen\" in the same medium. But neither symbol offers clues to the artist's past as the enfant terrible of Bay Area Conceptualism.
Publisher
New York Times Company
Subject
