Many of the silverpoints included in the exhibition were indeed drawn in joy, it seemed. Tender, loving joy in the case of Maddie Asleep by Ephraim Rubenstein, for example.
|Ephraim Rubenstein - Maddie Asleep, 1990, silverpoint on prepared paper, 21 in x 16|
|Juliette Aristides - Natalia Sleeping, 2005, silverpoint on toned paper heightened with white, 9 in x 13|
|Lauren Amalia Redding - Self Portrait with Ring, 2013, silverpoint and silver leaf on panel, 30 1/2 in x 24 1/2|
|Mary Grace Concannon - Intimations of His Mortality, 2011, silverpoint on prepared clay-coated paper, 6 in x 9|
|Tom Mazzullo - Upwrap, 2009, silverpoint on prepared paper, 12 in x 9|
Curator and participating artist, Sherry Camhy, also included a fascinating conversation with Dr. Bruce Weber in the Silverpoint Exhibition book. Dr. Weber had put silverpoint back on the art world map in the United States in 1985 when he curated The Fine Line at the Norton Museum of Art in Palm Beach, Florida. He talked with Sherry of the integrity of drawings done in silver, emphasising the importance of being true unto the medium. Gerhard Richter talked of this same aspect of art: "I believe that art has a kind of rightness, as in music, when we hear whether or not a note is false."
Sherry Camhy selected silverpoint drawings that ring true, that speak of joy in execution. They are drawings of many diverse subjects, approaches and contexts, but they form a shimmering song to the discipline of draughtsmanship.