Brice Marden’s notebooks.
On a page of his 1964–67 journal, underneath a small cutout of Manet’s 1862 painting of Victorine Meurent, Brice Marden wrote, “Cézanne tried to kill painting by denying forms for the sake of painting. He seems to have come closest to painting painting out … I think a painter should paint to end painting for himself and some others. With this in mind and man in mind it seems inevitable that painting will go on.”
Now two of Marden’s journals have been exquisitely printed by the New York–based publishing imprint Karma, in whose gallery space the drawings, the journals, and a monochrome painting—Portrait (1964–65)—are on display. With their daily ephemera and cogitations, the notebooks provide an instructive and often amusing counterpart to Marden’s most recent body of work, which opened at Matthew Marks Gallery last week. There is an inevitable link between Marden’s early work and now. Read More