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silence. It’s not that there’s necessarily
nothing
going on.There’s always a pulse there. But there are
times when there’s nothing
but
the pulse. ... Bearden’s paintings are like that.There’s the rhythm I
see here.” When Bearden heard a song by Roach and Clifford Brown while working in Robert
Blackburn’s printmaking workshop, “I just took a brush and painted the sounds, the color rhythms,
and the silences on a big sheet of plastic using a volatile benzine medium which dries within four
or five minutes. Then I pressed the paper over it and made this oil-on-paper,” referring to the
monotype he would then give to Roach. Schwartzman pp. 287-289.
[15,000/25,000]