#roland flexner

[psikonauti]

Roland Flexner (French, b. 1944)

Untitled, LGY 63, 2012

Liquid graphite on paper

[sesiondemadrugada]

Roland Flexner.

[killyridols]

untitled, gi 31 by roland flexner, gold calligraphy ink on paper, 2012

[nataliefenglin]

by Roland Flexner.

[thunderstruck9]

Roland Flexner (French, b. 1944), SN18, 2006. Sumi ink on paper, 14 x 18 cm.

[iamjapanese]

Roland Flexner（French, lives in NY）

Ink bubble drawings    via

[miamiartdistrict]

KAMROOZ ARAM

on the ancient arts of Iran

Achaemenid (Iran, Susa). Bricks with a palmette motif, ca. 6th–4th century B.C. Ceramic, glaze. The Metropolitan Museum of Art, Rogers Fund, 1948 (48.98.20a–c)

The Artist Project

Vito Acconci on Gerrit Rietveld's Zig Zag Stoel

Ann Agee on the Villeroy Harlequin Family

Diana Al-Hadid on the cubiculum from the villa of P. Fannius Synistor at Boscoreale

Ghada Amer on an Iranian tile panel, Garden Gathering

Kamrooz Aram on the ancient arts of Iran

Cory Arcangel on the harpsichord

John Baldessari on Philip Guston's Stationary Figure

Barry X Ball on an Egyptian fragment of a queen’s face

Ali Banisadr on Hieronymus Bosch's The Adoration of the Magi

Dia Batal on a Syrian tile panel with calligraphic inscription

Zoe Beloff on Édouard Manet's Civil War (Guerre Civile)

Dawoud Bey on Roy DeCarava

Nayland Blake on boli

Barbara Bloom on Vilhelm Hammershøi's Moonlight, Strandgade 30

Andrea Bowers on Howardena Pindell

Mark Bradford on Clyfford Still

Cecily Brown on medieval sculptures of the Madonna and Child

Luis Camnitzer on Giovanni Battista Piranesi's etchings

Nick Cave on Kuba cloths

Alejandro Cesarco on Gallery 907

Enrique Chagoya on Goya's Los Caprichos

Roz Chast on Italian Renaissance painting

Willie Cole on Ci Wara sculpture

George Condo on Claude Monet's The Path through the Irises

Petah Coyne on a Japanese outer robe with Mount Hōrai

Njideka Akunyili CROSBY on Georges Seurat's Embroidery; The Artist's Mother

John Currin on Ludovico Carracci's The Lamentation

Moyra Davey on a rosary terminal bead with lovers and Death's head

Edmund de Waal on an ewer in the shape of a Tibetan monk's cap

Thomas Demand on the Gubbio studiolo

Jacob El Hanani on the Mishneh Torah, by Master of the Barbo Missal

Teresita Fernández on Precolumbian gold

Spencer Finch on William Michael Harnett's The Artist's Letter Rack

Eric Fischl on Max Beckmann's Beginning

Roland Flexner on Jacques de Gheyn II's Vanitas Still Life

Walton Ford on Jan van Eyck and workshop's The Last Judgment

Natalie Frank on Käthe Kollwitz

LaToya Ruby FRAZIER on Gordon Parks's Red Jackson

Suzan Frecon on Duccio di Buoninsegna's Madonna and Child

Adam Fuss on a marble grave stele of a little girl

Maureen Gallace on Paul Cézanne's still life paintings with apples

Jeffrey Gibson on Vanuatu slit gongs

Nan Goldin on Julia Margaret Cameron

Wenda Gu on Robert Motherwell's Lyric Suite

Ann Hamilton on a Bamana marionette

Jane Hammond on snapshots and vernacular photography

Zarina Hashmi on Arabic calligraphy

Sheila Hicks on The Organ of Mary, a prayer book by Ethiopian scribe Baselyos

Rashid Johnson on Robert Frank

Y.Z. Kami on Egyptian mummy portraits

Deborah Kass on Athenian vases

Nina Katchadourian on Early Netherlandish portraiture

Alex Katz on Franz Kline's Black, White, and Gray

Jeff Koons on Roman sculpture

An-My Lê on Eugène Atget's Cuisine

Il Lee on Rembrandt van Rijn's portraits

Lee Mingwei on Chinese ceremonial robes

Lee Ufan on the Moon Jar

Glenn Ligon on The Great Bieri

Lin Tianmiao on Alex Katz's Black and Brown Blouse

Kalup Linzy on Édouard Manet

Robert Longo on Jackson Pollock's Autumn Rhythm (Number 30)

Nicola López on works on paper

Nalini Malani on Hanuman Bearing the Mountaintop with Medicinal Herbs

Kerry James MARSHALL on Jean Auguste Dominique Ingres's Odalisque in Grisaille

Josiah McElheny on Horace Pippin

Laura McPhee on Pieter Bruegel the Elder's The Harvesters

Josephine Meckseper on George Tooker's Government Bureau

Julie Mehretu on Velázquez's Juan de Pareja

Alexander Melamid on Ernest Meissonier's 1807, Friedland

Mariko Mori on Botticelli's The Annunciation

Vik Muniz on The Henry R. Luce Center for the Study of American Art

Wangechi Mutu on Egon Schiele

James Nares on Chinese calligraphy

Catherine Opie on the Louis XIV bedroom

Cornelia Parker on Robert Capa's The Falling Soldier

Izhar Patkin on Shiva as Lord of Dance

Sheila Pepe on European armor

Raymond Pettibon on Joseph Mallord William Turner

Sopheap Pich on Vincent van Gogh's drawings

Robert Polidori on Jules Bastien-Lepage's Joan of Arc

Rona Pondick on Egyptian sculpture fragments

Liliana Porter on Jacometto's Portrait of a Young Man

Wilfredo Prieto on Auguste Rodin's sculptures

Rashid Rana on Umberto Boccioni's Unique Forms of Continuity in Space

Krishna Reddy on Henry Moore

Matthew Ritchie on The Triumph of Fame over Death

Dorothea Rockburne on an ancient Near Eastern head of a ruler

Alexis Rockman on Martin Johnson Heade's Hummingbird and Passionflowers

Annabeth Rosen on ceramic deer figurines

Martha Rosler on The Met Cloisters

Tom Sachs on the Shaker Retiring Room

David Salle on Marsden Hartley

Carolee Schneemann on Cycladic female figures

Dana Schutz on Balthus's The Mountain

Arlene Shechet on a bronze statuette of a veiled and masked dancer

James Siena on the Buddha of Medicine Bhaishajyaguru

Katrín Sigurdardóttir on the Hôtel de Cabris, Grasse

Shahzia Sikander on Persian miniature painting

Joan Snyder on Florine Stettheimer's Cathedrals paintings

Pat Steir on the Kongo Power Figure

Thomas Struth on Chinese Buddhist sculpture

Hiroshi Sugimoto on Bamboo in the Four Seasons, attributed to Tosa Mitsunobu

Eve Sussman on William Eggleston

Swoon on Honoré Daumier's The Third-Class Carriage

Sarah Sze on the Tomb of Perneb

Paul Tazewell on Anthony van Dyck's portraits

Wayne Thiebaud on Rosa Bonheur's The Horse Fair

Hank Willis THOMAS on a daguerreotype button

Mickalene Thomas on Seydou Keïta

Fred Tomaselli on Guru Dragpo

Jacques Villeglé on Georges Braque and Pablo Picasso

Mary Weatherford on Goya's Manuel Osorio Manrique de Zuñiga

William Wegman on Walker Evans's postcard collection

Kehinde Wiley on John Singer Sargent

Betty Woodman on a Minoan terracotta larnax

Xu Bing on Jean-François Millet's Haystacks: Autumn

Dustin Yellin on ancient Near Eastern cylinder seals

Lisa Yuskavage on Édouard Vuillard's The Green Interior

Zhang Xiaogang on El Greco's The Vision of Saint John

[moodoofoo]

Roland Flexner Untitled LGY 54, 2012 liquid graphite on paper 9 x 12 inches

[theoriesanddocuments]

Roland Flexner (American, born in France in 1944). I’m not entirely clear on the specifics of Flexner’s process. I know that some of his fluid imagery is achieved by floating pigment on top of water and dipping his paper in. I wanted to show this work in part for his use of a graphite material in some of the works, and also as an example of how small, monochromatic works on paper in series might be framed and installed in a gallery.

Untitled 2009. Sumi ink on paper, 5 1/2 x 7 inches. Source.

LGY 5 2012. Liquid graphite on Yupo, 9 x 12 inches. Source.

LGY 60 2012. Liquid graphite on Yupo, 9 x 12 inches. Source.

Untitled 2010. Liquid graphite on paper, 5 3/4 x 7 inches. Source.

Untitled 2010. Liquid graphite on paper, 5 3/4 x 7 inches. Source.

LGB16 2011. India ink and indigo, 14 x 15 3/4 inches. Source.

Untitled (LGBY 1 to LGBY 10) 2014. Blue liquid graphite on paper; ten drawings, 9 x 12 inches each. Source.

[psikonauti]

Roland Flexner (French, b. 1944)

Untitled, LGY 69, 2012

Liquid graphite on paper

[marsjapan-alexstewart]

Roland Flexner

http://rolandflexner.com/?page_id=25

[marsjapanjoaolampreia]

Roland Flexner

Roland Flexner’s delicate works on paper are composed with black ink and soap, according to processes that invite elements of chance and gravity to act on the images. To create themarbleized effects and rich tonal qualities typical of Flexner’s work, he employs a technique based on the ancient Japanese decorative tradition of suminagashi, using ink, or “sumi”, and water; ink is floated on water in a tray and manipulated into shapes, then paper is dipped onto the surface of the water to transfer the image. Flexner can alter the image using a brush, or by blowing the ink before it dries. The resulting works, which could be mistaken for photographs, occupy a space between abstraction and hyperrealism, and evoke complex organic structures. He has also produced “bubble” drawings by blowing ink and soap bubbles through a hollow brush and bursting them onto paper, and graphite drawings of skulls and contorted faces.

[nhmars]

Roland Flexner

Roland Flexner’s delicate works on paper are composed with black ink and soap, according to processes that invite elements of chance and gravity to act on the images. To create the marbleized effects and rich tonal qualities typical of Flexner’s work, he employs a technique based on the ancient Japanese decorative tradition of suminagashi, using ink, or “sumi”, and water; ink is floated on water in a tray and manipulated into shapes, then paper is dipped onto the surface of the water to transfer the image. Flexner can alter the image using a brush, or by blowing the ink before it dries. The resulting works, which could be mistaken for photographs, occupy a space between abstraction and hyperrealism, and evoke complex organic structures. He has also produced “bubble” drawings by blowing ink and soap bubbles through a hollow b

[thunderstruck9]

Roland Flexner (French, b. 1944), SN48, 2006. Sumi ink on paper, 14 x 17.5 cm.

[marsjapanethanquilliam]

Roland Flexner review-

Roland Flexner expands the definition of drawing by creating intricately detailed works of ink on paper using only his breath, chance, and gravity as tools. The works on view in 2010 were created using a Japanese decorative art technique in which paper is laid on top of ink floating on water or gelatin, creating a marbled effect. However, Flexner departs from the traditional technique, altering the composition in the moment before the ink is absorbed by tilting, blowing, or blotting the paper. The resulting images oscillate between illusionistic landscape and pure abstraction.