[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-422115-105":59,"doc-detail-422115-en":130},{"code":4,"msg":5,"data":6},0,"success",[7,13,18,23,28,33,38,43,48,51,55],{"id":8,"doc_module":4,"doc_module_name":9,"category_name":10,"show_sort_weight":11,"slug":12},1,"Document","Story & Novel",90,"story-novel",{"id":14,"doc_module":4,"doc_module_name":9,"category_name":15,"show_sort_weight":16,"slug":17},2,"Literature",80,"literature",{"id":19,"doc_module":4,"doc_module_name":9,"category_name":20,"show_sort_weight":21,"slug":22},4,"Exam",70,"exam",{"id":24,"doc_module":4,"doc_module_name":9,"category_name":25,"show_sort_weight":26,"slug":27},5,"Comic",60,"comic",{"id":29,"doc_module":4,"doc_module_name":9,"category_name":30,"show_sort_weight":31,"slug":32},6,"Technology",50,"technology",{"id":34,"doc_module":4,"doc_module_name":9,"category_name":35,"show_sort_weight":36,"slug":37},7,"Healthcare",40,"healthcare",{"id":39,"doc_module":4,"doc_module_name":9,"category_name":40,"show_sort_weight":41,"slug":42},8,"Research & Report",30,"research-report",{"id":44,"doc_module":4,"doc_module_name":9,"category_name":45,"show_sort_weight":46,"slug":47},9,"Religion & Spirituality",20,"religion-spirituality",{"id":46,"doc_module":4,"doc_module_name":9,"category_name":49,"show_sort_weight":46,"slug":50},"World Cup","world-cup",{"id":52,"doc_module":4,"doc_module_name":9,"category_name":53,"show_sort_weight":52,"slug":54},10,"Lifestyle","lifestyle",{"id":56,"doc_module":4,"doc_module_name":9,"category_name":57,"show_sort_weight":24,"slug":58},19,"General","general",{"code":4,"msg":60,"data":61},"ok",{"site_id":62,"language":63,"slug":64,"title":65,"keywords":66,"description":67,"schema_data":68,"social_meta":123,"head_meta":125,"extra_data":127,"updated_unix":129},105,"en","carol-robertson-new-paintings","CAROL ROBERTSON - New Paintings","","Scholarly exhibition text and critical commentary on CAROL ROBERTSON’s New Paintings, presenting her 2000 Copenhagen and London shows. The discussion focuses on how circular forms, edges, and canvas boundaries create a fixed yet shifting visual experience, emphasizing looking over representation. It explains the paintings’ independence, their graphic relationship to drawing and printing, and the way color and layered surfaces generate spatial tension, light, and atmospheric associations, from interior luminosity to storm-like energy.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/carol-robertson-new-paintings/422115/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/carol-robertson-new-paintings/422115.png","ImageObject",300,407,{"name":92,"@type":93},"Genevieve","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-11-01","2026-09-28",true,{"@type":102,"interactionType":103,"userInteractionCount":44},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What visual elements drive the commentary on Robertson’s New Paintings?","Question",{"text":112,"@type":113},"The text emphasizes circles, their edges, and how the circle-to-canvas relationship shapes a fixed but intensely experiential “looking” moment. It also stresses that nothing moves while still producing a leap outward from within the circle’s edge.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How does the writing distinguish these works from earlier Robertson paintings?",{"text":117,"@type":113},"It contrasts earlier associations drawn from simple geometry with the newer works’ symbolism embedded within imagery. The commentary also notes a move away from rigid abstraction/figuration dualities while preserving an independence between relationships inside each painting.",{"name":119,"@type":110,"acceptedAnswer":120},"What role does drawing and printing play in Robertson’s practice, according to the document?",{"text":121,"@type":113},"The document argues that the paintings function through a consciously direct link to drawing, described as “underlining” the circle’s edge. It further claims the imagery works graphically, translating and transplanting her repertoire from printing and drawing rather than relying on pure shape alone.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},422115,1791348608,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":44,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145},1374391974585,"https://ap-avatar.wpscdn.com/davatar_276721f389ce27ea32af1340a28f341c","FALMOUTH COLLEGE OF ARTS38010000489000  \nFALMOUTH CAMPUSLIBRARYWITHDRAWN  \nDigitized by the Internet Archivein 2022 with funding fromKahle/Austin Foundation  \nhttps://archive.org/details/carolrobertsonne0000robe  \n# CAROL ROBERTSONNew Paintings\n\nIntroduction by Sacha Craddock  \nGALLERI WEINBERGER,COPENHAGEN18 February-31 March 2000  \nFLOWERS EAST,LONDON17 March-22 April 2000  \nYou,window,O waiting's measure,refilled so often  \nwhen one life spills out and growsimpatient for another:  \nYou who divides and attracts,as fickle as the sea-  \nsudden mirror reflecting our facemingled with wbat we see in back;  \nfraction of a freedom compromisedby the presence of risk;trapped by whatever's in usthat evens the odds of the loaded outside.  \nPoem 4,The WindowsRainer Maria Rilke  \nCarol Robertson  \nThe double-edged circles set up a regular beat and still the image holds.  \nThe paint is put on evenly to avoid any sense of movement or volume.This gives aparticular sensation,a fixed experience of non-reference.But such a break in thechain of imagery provides a back door to pleasure,and marks a subtle shift inRobertson's work.Earlier paintings would have had an unconscious,sublime set ofassociations about them with even the most simple geometric shape carrying its ownparallel hint;for example,to a commonplace object or to an architectural plan ordetail of some kind.  \nNow the relation between the edge of the circle for instance and the edge of thecanvas is crucial in a different way.The paintings are not process driven equivalentsof a fabric sample,they replace the arbitrary ‘all over'sense with a symbolismexisting within.The imagery functions almost graphically showing how closelyRobertson works with printing and drawing in transplanting and translating herrepertoire.She works adamantly,'underlining'the edge of the circle,forcing it tofunction in a direct and visual manner.Nor is this about any notion of pure shape orthe paring down of components;the work is still more about the experience oflooking rather than any dry representation of thought.  \nThe basic elements placed within the margins provide both the place and theatmosphere in which they can appear.The place'is architectural as well as open.Itis important to repeat here that nothing moves and yet a strange leap outwardstowards heaven from a circle within its edge shows how one element can so quickly,easily and miraculously conjure another.The leap is without instruction or direction,however.While these paintings deal so emphatically with the here and now theyremain separate from rigid distinctions between abstraction and figuration,from theduality of earlier arguments and positions.  \nThe paintings have markers in this world and appear,in their retinal intensity,toharvest the kind of energy and tension that comes either with the build up before astorm or the subsequent blanket of violet light once the storm has broken.  \nAlthough occasionally envisaged in pairs,the relationships set up within eachpainting provides a highly unfashionable level of independence.Perhaps the strengthof the simple single image is that it is able to glow,in the mind's eye,long after ithas been seen.The particular direct relation to drawing guarantees that Red Night,Isis,and Dalliance in the Garden are consciously and effectively perceived andunderstood all at once.The drawing is nonetheless vulnerable,it reminds that eventhe most basic shape is the same and yet different each time.  \nEach painting functions as a lightning conductor which flashes on the eye to establishan initial spark of mental place or space.In charting the relationship between themaker's intention and the observer's eye,leaving out perhaps artificially,the maker'scontinual presence,it is possible if a little simplistic,to draw a triangle with a sawnoff third point.That flat point is the picture plane itself.The artist here feeds in somuch that an accumuation of intenton over time,extends out at a diffuse angle tothe viewer,just as head li","cbCaihBU5ja5BcMS","https://ap.wps.com/l/cbCaihBU5ja5BcMS","pdf",2485646,48,"English","# Introduction\n## Exhibition overview\n## Circles, edges, and the experience of looking\n## Imagery, drawing, and printing connections\n## Color, layers, and atmospheric associations","[{\"question\":\"What visual elements drive the commentary on Robertson’s New Paintings?\",\"answer\":\"The text emphasizes circles, their edges, and how the circle-to-canvas relationship shapes a fixed but intensely experiential “looking” moment. It also stresses that nothing moves while still producing a leap outward from within the circle’s edge.\"},{\"question\":\"How does the writing distinguish these works from earlier Robertson paintings?\",\"answer\":\"It contrasts earlier associations drawn from simple geometry with the newer works’ symbolism embedded within imagery. The commentary also notes a move away from rigid abstraction/figuration dualities while preserving an independence between relationships inside each painting.\"},{\"question\":\"What role does drawing and printing play in Robertson’s practice, according to the document?\",\"answer\":\"The document argues that the paintings function through a consciously direct link to drawing, described as “underlining” the circle’s edge. It further claims the imagery works graphically, translating and transplanting her repertoire from printing and drawing rather than relying on pure shape alone.\"}]","CAROL ROBERTSON - New Paintings | PDF",1790626283,74]