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Critical Response
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Because I have been working on Degas for many years I was very conscious
of the problems of drawing dance. Dancers by definition are in movement.
It's a mobile activity and for artists that creates problems. The moment
you pose the dancers you disrupt the rhythm and destroy the nature of
the activity. Degas often made pictures of dancers in repose but Rosenberg
has opted to represent them actually dancing or rehearsing, by drawing
them as they move. That seems to me a high-risk strategy because you can
end up with something that's actually incoherent. Not only did he succeed
in capturing dancers in movement but he managed to produce very suggestive
works of art, without the cliches prettiness, glamour, or decorativeness.
Richard Kendall
Independent Art Historian and Curator "Degas: Beyond Impressionism"
National Gallery, London, and Art Institute of Chicago
His interest in movement, using the human form, is something that has
been an issue throughout Western art and has never really been thoroughly
dealt with. The Futurists tried to tackle that and a thousand other artists
from the Renaissance forward tried to incorporate the use of movement
in their work, but he has really captured that sense of the human form
moving through space.
Daphne Anderson Deeds
Former Curator of Exhibitions and Programs
Yale University Art Gallery
... (W)hat really comes out in the show is Rosenberg's gift for drawing.
It's attested to, by a number of big unstretched canvasses, which he brushes
loose, grand scale figural polymorphs of heroic presence ... And there
are several suites of small drawings and collages, in which a vigorous
grammar of figural motifs is set up with impressive formal invention.
In fact, it's an impressive show.
Grace Glueck
New York Times
(Rosenberg) takes his place among artists with an allegiance to the human
figure. Rodin, Lachaise and Boccioni are among the giants reflected in
his work, but less because of their drawing styles than a dynamic sculptural
approach ... Each taken by itself would be quite an achievement, but Rosenberg's
drawings and sculpture are all of a piece. They carry the emotional charge
characteristic of New Expressionist work, and it is transmitted through
a command of form. Nowadays how rare it is to find them both.
Alan G. Artner
Chicago Tribune
Rosenberg's greatest talent lies in his ability to animate the line, to
imbue a swirl or a mark with expression ... to capture the essence of movement through spontaneous,
almost instinctive abstract drawings that are created instantaneously
as the action unfolds. To put it differently, he has attempted to transform
the choreography of the dancers into a kind of choreography of the hand,
striving for a transcendent convergence of the two.
Kyle MacMillan
Omaha World-Herald
Drawing for (Rosenberg) is an obsessional activity operating between discipline
and conceptual exercise ... Rosenberg can really draw, like DeKooning
and Oldenburg can really draw, and his undertakings with the medium are
appropriately heroic ... Movements of heads and bodies are scored across
the paper, the overlapping forms evolving into animal appendages, garments,
the geometric, and the fantastic. An isolated single figure assumes monumental
proportions and defiant attitudes ... Rosenberg illustrates the idea that
we carry a myriad of other shapes around with us in our garments, in our
body, and in the way it moves. Despite the appearances of the figures
that emerge from the tangles of oil-stick or ink, we cannot deny them.
We even cautiously extend ourselves to them, for at one time, we both
shared the same basic form.
Tim Maul is an artist and critic,
excerpt from the catalog essay:
Terry Rosenberg Drawings and Sculpture, Frances Wolfson Art Gallery, New
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