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HARRY ROSEMAN: CLAY CLOTH SCULPTURES AND WORKS ON PAPER 
EXTENDED THROUGH MAY 3, 2014
Plum
Fired clay, epoxy and acrylic paint, 21 13/16 x 16 inches [irreg.]
Signed and dated (on back, in pencil): © Harry Roseman 2011
Executed in 2011
R-447

Mark IX
Black ink on paper, 11 x 8 1/2 inches
Executed in 1990
R-138
Teal
​Painted fired clay, 23 1/4 x 40 x 3/4 inches
Executed in 2005-2006
Raspberries and Cream
Painted fired clay, 21-1/2 x 20 x 3 inches
Executed in 2004
Private Collection
Blueberry
​Painted fired clay, 20 x 20 1/4 x 1/2 inches
​Executed in 2006
Private Collection
Mandarin Orange
Painted fired clay, 22 1/2 x 20 x 3/4 inches
Executed in 2004
Naples Yellow
​Painted fired clay, 22 1/2 x 20 x 3/4 inches
Executed in 2004
Ginger
​Painted fired clay, 42 x 44 x 3/4 inches
Executed in 2005-2006
Stationery #1
Black ink on paper, 9 x 7 3/8 inches
Executed in 1988
R-88

​Mark II
​Ink on paper, 8 1/2 x11 inches
​Executed in 1990
R-131
Mark III
Colored pencil and ink on paper, 17 x 13 9/16 inches
​Executed in 1990
R-132
Mark V
Ink on paper, 17 x 13 9/16 inches
Executed in 1990
R-134
Mark VI
Black and blue ink on paper, 11 x 8 1/2 inches
Executed in 1990
R-135

Mark VII 
Colored inks on paper, 11 x 8 1/2 inches
Executed in 1990
R-136

Mark 1A
Acrylic on paper, 8 1/2 x 11 inches
Executed in 1991
R-169
Mark 2A
Acrylic on paper, 8 1/2 x 11 inches
Executed in 1991
R-170

Spirochete
Ink on paper, 8 1/2 x 10 5/16 inches
Executed in 1992
R-171

Top to Bottom
Ink on paper, 10 9/16 x 14 15/16 inches
Executed in 2008
R-452

The exhibition will consist of about ten brightly colored clay cloth sculptures and fifteen works on paper ranging in date from 1988 until 2014. 

For many years, ROSEMAN (born 1945) has explored the illusionistic depiction of drapery and its inherent contrast of hard and soft. The most visible demonstration of this theme is currently installed at the International Arrivals Terminal at Kennedy Airport in New York City. Now facing possible destruction, his 600-foot long relief sculpture, Curtain Wall, has been on permanent public display since its 2001 completion. Many of the works in the show are an outgrowth of that project, such as Plum, 2011, which capture the draping, folds and movement of the original Curtain Wall on a smaller scale. 

Also on view will be preparatory drawings for the exhibition “Enfold” at Nancy Margolis Gallery (2011), in which Roseman pushed this theme further into illusion with the introduction of new media. These drawings provide a window into Roseman’s process of visual dislocation. In addition, a 1990 weave pattern etching and a number of finely detailed, geometric ink drawings, including Mark IX, 1990, will also be on view. 

Roseman’s work is represented in many public collections, including the Museum of Fine Arts, Boston, the Achenbach Foundation for the Graphic Arts, Fine Arts Museums of San Francisco; the Cincinnati Museum of Art, Ohio; the Museum of Contemporary Art/San Diego, La Jolla, California; the Philadelphia Art Museum, Pennsylvania; and the Walker Art Center, Minneapolis, Minnesota.