Painting
Photo credit: Michael Hnatov
Accession Number: C.2019.14.1
Dimensions: 24 in X 24 in X 2 in
Dimensions (Metric): 60.96 cm X 60.96 cm X 5.08 cm
Dimensions (Metric): 60.96 cm X 60.96 cm X 5.08 cm
Source: Susan Schwalb
Credit Line: Gift of Susan Schwalb, New York
red/white/blue IV
Description
Silverpoint painting titled red/white/blue IV by Susan Schwalb. The painting is acrylic on paper on wood and depicts layers of red, white, and blue paint coated with gray paint. The silverpoint technique was utilized to strip away some of the gray paint in horizontal stripes to reveal the layers of colored paint below.
Silverpoint painting titled red/white/blue IV by Susan Schwalb. The painting is acrylic on paper on wood and depicts layers of red, white, and blue paint coated with gray paint. The silverpoint technique was utilized to strip away some of the gray paint in horizontal stripes to reveal the layers of colored paint below.
Historical Notes
New York-based artist Susan Schwalb embarked on her red/white/blue series in 2002, inspired by the proliferation of American flags seen throughout New York in the early aftermath of the 9/11 attacks.
New York-based artist Susan Schwalb embarked on her red/white/blue series in 2002, inspired by the proliferation of American flags seen throughout New York in the early aftermath of the 9/11 attacks.
Curator's Comment
Although she lived in Manhattan at the time, Susan Schwalb was not in New York on 9/11. She attributes much of the shock she experienced on 9/11 to her distance from the disaster, which denied her the opportunity to help or assess at firsthand the tragedy that had befallen her native city. When Schwalb did manage to return to the city, she noticed American flag regalia everywhere.
After several weeks, Schwalb slowly returned to artmaking, commencing with a series that explored the theme of “red/white/blue.” Working on paper overset onto thin wood veneers, Schwalb applied layers of red, white, and blue paint which she then over-coated in a neutral gray. She proceeded to draw simple bands of tone with silverpoint, later erasing parts of the surface with sandpaper to expose the under skin of layered paint. Sanding away the topmost somber gray layer of the paintings allowed the underlying colors to bleed or smolder to the surface through gash-like openings. The subtle, emerging impression is twofold: that of an American flag bearing scars, gashes, wounds, and traces of blood, as well as the breached facades of the Twin Towers prior to their collapses.
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Although she lived in Manhattan at the time, Susan Schwalb was not in New York on 9/11. She attributes much of the shock she experienced on 9/11 to her distance from the disaster, which denied her the opportunity to help or assess at firsthand the tragedy that had befallen her native city. When Schwalb did manage to return to the city, she noticed American flag regalia everywhere.
After several weeks, Schwalb slowly returned to artmaking, commencing with a series that explored the theme of “red/white/blue.” Working on paper overset onto thin wood veneers, Schwalb applied layers of red, white, and blue paint which she then over-coated in a neutral gray. She proceeded to draw simple bands of tone with silverpoint, later erasing parts of the surface with sandpaper to expose the under skin of layered paint. Sanding away the topmost somber gray layer of the paintings allowed the underlying colors to bleed or smolder to the surface through gash-like openings. The subtle, emerging impression is twofold: that of an American flag bearing scars, gashes, wounds, and traces of blood, as well as the breached facades of the Twin Towers prior to their collapses.
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