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|Additional Physical Format:||Online version:
Syracuse, N.Y. : Syracuse University Press, 1994
|Named Person:||Jerome Witkin|
|Material Type:||Government publication, State or province government publication|
|All Authors / Contributors:||
Sherry Chayat; Jerome Witkin
|ISBN:||0815626177 9780815626176 0815602790 9780815602798|
|Description:||xv, 94 p. : ill. (some col.) ; 26 cm.|
|Contents:||Foreword / Kenneth Baker --
I. A Painter's Crossing --
II. Brooklyn and Beyond --
III. The Human Condition --
IV. Avatars in Dark Corners --
V. Conclusion --
Appendix: A Statement on My Technique / Jerome Witkin.
|Responsibility:||Sherry Chayat ; with a foreword by Kenneth Baker.|
Through the "virtues of descriptive vividness and accuracy," as Kenneth Baker writes in his Foreword, Sherry Chayat elucidates Witkin's success in almost single-handedly returning to the realm of painting those subjects that are powerfully universal as well as intensely personal. Witkin believes that this is his domain as a painter, as it was for artists like Goya and Eakins.
Mortal Sin: In the Confession of J. Robert Oppenheimer; Death as an Usher: Berlin, 1933; Subway: A Marriage; The Screams of Kitty Genovese - Witkin's huge and often multipaneled canvases deal with human dilemmas and current societal issues, such as the homeless, AIDS, and drugs. His art demonstrates that we bear a moral responsibility for the pain suffered by others. "I'm not just a painter," Witkin states. "I'm a person looking at my century.
We must get back to someplace where we can feel again, where we have value, a sense of the future."