{"id":17901,"date":"2011-07-05T12:10:55","date_gmt":"2011-07-05T16:10:55","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=17901"},"modified":"2011-07-05T13:24:15","modified_gmt":"2011-07-05T17:24:15","slug":"dan-walsh","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2011\/07\/05\/dan-walsh\/","title":{"rendered":"Dan Walsh"},"content":{"rendered":"

\"\"<\/a>

Photograph by Bronwen Roberts.<\/p><\/div>\n

Dan Walsh\u2019s elevator is like the inside of a lunch box, a room coated with a loud, almost orangey mustard. The artist moved to his Williamsburg loft before Kent Avenue became, as Walsh calls it, \u201clike Miami Beach,\u201d when he could only see the skyline, the bridge, and the Domino Sugar refinery. And even though the view has changed, Walsh has stayed put. In our interview, Walsh tells me that he\u2019s interested in exploring a space where the perceptual meets the symbolic, where meaning is created outside of historical codification. He is known for his large-scale geometric paintings that play on repetition, grids, and blocks. Lately, he has been creating artist books, which explore repetition, progression, and layering on a more intimate scale.<\/em><\/p>\n

Space is important to me\u2014you could say the minimalists organized the space and what is in-between. Historically, minimalism rejected \u201cpictorial space.\u201d I am using the formats of minimalism, but not following the goals. As matter a fact, I always regarded the space in a painting as the soul of a painting. I\u2019m working to find a space I can interact with on a day-to-day basis, something neutral and malleable: one of the goals of minimalism was to experience qualities of materials, forms, colors and remove psychological space. I have always tried to put myself in the best \u201cplace\u201d (be it living space or painting space) to think clearly\u2014to make the next decision.<\/p>\n

\"\"<\/a>

Photograph by Bronwen Roberts.<\/p><\/div>\n

I make books now, one or two a year. The books are definitely labor intensive, but as long as a I can continue to afford it, I plan to publish more. My recent books are an attempt at something more physical\u2014something that you feel\u2014something like my paintings, more optical, affecting the body. When you get into a big painting it\u2019s about the body in some way\u2014the human scale, as in the famous human scale of American painting, whereas bookmaking is intimate.<\/p>\n

\"\"<\/a>

One of Walsh\u2019s artist books. Photograph by Bronwen Roberts.<\/p><\/div>\n

When an abstract painter makes a book, the book doesn\u2019t have a narrative per se. Sol LeWitt is a good example. One tends to gravitate toward progression\u2014or maybe variation is a better word. The full two-page spread is important to me. I sew loosely, so the book will sit flat. It\u2019s not like a regular book that you flip through\u2014the seam is everything. This is one of the reasons I publish my own books. I\u2019m the Moody Studios, named after my favorite band. There are rewards to being self-taught. It\u2019s not so much that it\u2019s about craft as that it\u2019s about making a lot of decisions that end up mattering. And I like that; that\u2019s a meaningful thing.<\/p>\n

\"\"<\/a>

Detail of an artist book. Photograph by Bronwen Roberts.<\/p><\/div>\n

I\u2019m trying to find simple phenomena. They could be seen as frames for new ideas and sensations. The books stand on their own. Now I\u2019m particularly interested in transparencies, which you can see in my paintings. This book with the empty center is about the viewer\u2019s projection. When an artist offers less information, the thoughts of the viewer are more active. The opposite of that would be, for example, the painting \u201cGuernica.\u201d In a minimal situation, you have less information\u2014especially narrative qualities\u2014and are left with a few elemental forms. It is funny to talk about this, because I call myself a maximalist now: getting the most out of the least.<\/p>\n

\"\"<\/a>

Detail from \u201cRoebling\u201d (2011), 55'' x 90''. Photograph by Bronwen Roberts.<\/p><\/div>\n

I have always spoken about the \u201cuse value\u201d of my painting\u2014the grid is very user friendly. My early work often looks like agendas or display cases, inviting interaction, accessible. I wouldn\u2019t call my paintings classically \u201creductive\u201d or \u201cpurist\u201d (much geometric painting describes itself this way). The idea has been to make a vehicle for concentration, but also a place for my concentration and my studies.<\/p>\n

\"\"<\/a>

Photograph by Bronwen Roberts.<\/p><\/div>\n

In a funny way, all of my painting in the last five years has been a way to solve my problem of the application of paint. I was a little embarrassed by how I painted\u2014everyone else had a style, a schtick, a way of applying the paint, using tape, for instance. I wanted to be more direct and searching, find a method that would allow me to do this, while remaining historically codified. Over the years I\u2019ve found that the shorter marks are less about style, less about the expressive. This has been a good way to be really involved with painting and to be hands-off at the same time, to find ways of fitting together the pieces.<\/p>\n

I feel sometimes that my paintings are a little too beautiful. But I embrace the method: transparency and inflection, ways of getting different experiences out of painting, painting very simply. I mean it\u2019s very complicated, but it\u2019s really very simple.<\/p>\n","protected":false},"excerpt":{"rendered":"

Dan Walsh\u2019s elevator is like the inside of a lunch box, a room coated with a loud, almost orangey mustard. The artist moved to his Williamsburg loft before Kent Avenue became, as Walsh calls it, \u201clike Miami Beach,\u201d when he could only see the skyline, the bridge, and the Domino Sugar refinery. And even though […]<\/p>\n","protected":false},"author":205,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1857],"tags":[17,2752,2750,2751,2754,67,2753,2749,919],"class_list":["post-17901","post","type-post","status-publish","format-standard","hentry","category-studio-visit","tag-books","tag-bronwen-roberts","tag-dan-walsh","tag-lily-swistel","tag-painter","tag-painting","tag-sol-le-witt","tag-sudio-visit","tag-williamsburg"],"acf":[],"yoast_head":"\nDan Walsh by Daisy Atterbury and Lily Swistel<\/title>\n<meta name=\"description\" content=\"July 5, 2011 \u2013 Dan Walsh\u2019s elevator is like the inside of a lunch box, a room coated with a loud, almost orangey mustard. 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