Beatrice Caracciolo by George Negroponte

BOMB 71 Spring 2000
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New York Live Arts presents

Marjani Forte
Nov 15-19


71 Caracciolo 01 Body

Beatrice Caracciolo, Untitled, 1999, crayon, pigment on paper, 58¼ x 116 inches. All images courtesy Charles Cowles Gallery.

All that I look for is right here in Beatrice Caracciolo’s work: weight, touch, light, atmosphere, scale. They are the tough-minded results of long practice earned over time. This work has discretion, the lost ingredient of our time, that slow deliberate consideration we once spoke of in the days before sight bites. Also present is history; the long look back in time. What commitment. It really is all here!

Blunt marks wrestle themselves free. These marks hold down the surface like paperweights, indeterminate, turning in on themselves, splitting, moving around the back and through to the other side, wrestling to hold a form in space. Grubby grounds, oily and worked. Roughed up. The rubble is transformed into light. The form is born, ancient activity right out of Fayum portraiture. Each drawing an actively found place. So conscientious.

What a surprise and pleasure it is to bump into the “real.” How good it is to be here again. Caution: it does require the informed eye and mind. Again, that long look. The warning label reads: slow down.

—George Negroponte

71 Caracciolo 03 Body

Beatrice Caracciolo, Untitled, 1999, crayon, pigment on paper, 26½ x 22¾ inches.

71 Caracciolo 02 Body

Beatrice Caracciolo, Untitled, 1999, crayon, pigment on paper, 32¼ x 26½ inches.

Michael Jensen by Rone Shavers
Michael Jensen 1
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Catherine Howe by Madeline Weinrib
Howe 3 Body

During the 1990s, Catherine Howe and I were painters in the same downtown studio building at the edge of the West Side Highway and frequent visitors to each other’s work space. 

George Negroponte by Betsy Sussler
Negroponte 01

At one time the paintings were all atmosphere. There was no ground, no topography upon which the eye could settle—time was fluid—and what lurked beneath the surface referred more to collective memory than the painter’s marks.

Lex Braes by Roland Legiardi-Laura
Lex Braes

One night Lex Braes came to a party in my loft, a bit of boisterous dance music, a dram or two of whisky, and a chance encounter with a fellow Scotsman were enough to send Braes into a rollicking frenzy of delight. 

Originally published in

BOMB 71, Spring 2000

Featuring interviews with Frank Stella, John Currin, Jim Crace, Frances Kiernan, Brian Boyd, Marsha Norman, and Arto Lindsay. 

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