Al Taylor
Having begun his studio practice as a painter and draftsman, in 1985 Al Taylor (1948–1999) devised a uniquely innovative approach to process and materials that seamlessly enveloped drawings, prints, and three-dimensional objects as he created compositions that were grounded in the formal concerns of painting. Taylor ultimately sought to expand the possibilities of vision in his search for new ways of experiencing and imagining space, and his multilayered investigations of perception across variant dimensions provide the viewer with an insight into the artist’s idiosyncratic thinking, his methodology, and his playful sense of humor.
On view at the High Museum of Art in Atlanta through March 18, 2018, Al Taylor, What Are You Looking At? was the first major museum survey of the artist’s work in the United States. Curated by Michael Rooks and featuring more than 150 three-dimensional objects, drawings, and prints drawn from several of Taylor’s major series over nearly two decades, this critically acclaimed exhibition offered an in-depth look at the breadth of his artistic production.
Presented on the occasion of the High Museum survey, this Viewing Room provides an overview of Taylor’s production in a range of media and includes examples from key series, such as Latin Studies (1984–1985), Pet Stains and Puddles (1989–1992), Pass the Peas (1991), and Full Gospel Neckless (1997).
At the High Museum on Saturday, March 3, art historian Michael Semff gave a talk focusing on significant examples of the different media in which Taylor worked. Semff explored the artist’s strategies of perception and objectification, as well as his radical infringement on the traditional rules of art making. Formerly curator and director of the Staatliche Graphische Sammlung in Munich, Semff previously organized the Taylor drawing retrospective in 2006 and the Taylor print retrospective in 2010, both held at the Pinakothek der Moderne, Munich.
Describing The Peabody Group (1992), one of the artist’s best-known series whose title puns on its subject matter and of which an example appears in the Viewing Room, Semff explains, “Taylor used line and color to particularly compelling effect to accord these mundane traces of canine activity an apotheosis of almost Baroque proportions, dripping ink, gouache, and, above all, watercolor onto sheets of paper on the floor, then lifting the sheets to make the liquid run across the surface. The result might be described as a ‘subtly controlled chaos’ of juxtaposed and superimposed runs, puddles, and splashes.”