Stanford Art Spaces
From November 21, 1997 to January 15, 1998, Stanford Art Spaces features an exhibit by two artists:
Jon Rife - monotypes and paintings Carol Summers - woodcuts

Yields the Natural Boy - © 1997 Jon Rife

Ravenna's Palace Burning - © 1997 Carol Summers

This exhibit is located in the Allen Center for Integrated Systems (CIS), Gates Computer Science, Terman Engineering Center, and Humanities and Sciences buildings.

Jon Rife

A San Francisco Bay Area Artist for the past eighteen years, Jon Rife is well known for his intense palette and highly emotional works. His paintings and monotypes are found in private and corporate collections both in the United States and abroad. He has also made a significant contribution by originating the water based acrylic monotype, and he teaches this new process both privately and institutionally.

In 1982 when I began working with monotypes, I found the spontaneous nature of the media to be an inner artistic addiction that released me unexpectedly from the drudgery of my figurative painting. The monotype liberated me from preoccupation with rhythms of light and shadow into new adventures with the power of surface textures and intense color contrasts.

My most recent work is a mixture of contemporary black and white and color styles with the introduction of multiple transfers as a form of compositional collage using various plate surfaces including computer generated scanned and video captured images. I have found these techniques to be rich in possibilities both for new effects in color and texture and in their ability to move the viewer.

The monotype is a unique and singular print, transferred from a smooth, flat non-absorbent surface (glass, plexiglass, acetate, zinc or copper) which the artist has directly painted with brush or other non-incisive tools.


Jon Rife: Exhibit
  • Untitled 3472
  • Untitled 3479
  • Untitled 3497
  • Untitled 3500
  • Untitled 3506
  • Untitled 3507
  • Untitled 3513
  • Yields the Natural Boy
  • Untitled 3521
  • Untitled 3522 (NFS)
  • Untitled 3523
  • Untitled 3525
  • Untitled 3526
  • Untitled 3527
  • Untitled 3601
  • Untitled 3603
  • Untitled 3604 (NFS)
  • Untitled 3607 (NFS)

  • Most works are for sale directly from the artist. For information, contact Marilyn Grossman, Curator Stanford Art Spaces (650) 725-3622


    Carol Summers

    Carol Summers is a California artist whose woodcuts, created under the influence of foreign lands and cultures, use large, coloured forms within dynamic compositions. His prints, which sell very successfully in the U.S., are startling images of vivid colours, unique in technique and style.

    I've always dreaded making statements about my work it forces me to organize my thoughts. As religion is a defense against spiritual experience, so too are aesthetic theories a barrier to direct response. It is the mystery and surprise that are the artists' rewards for me, so I resist formalizing and ordering my ideas, which are after all, simply a map to guide one through the terra incognita of the world and experience. We live in a time that places great emphasis on the primacy of thinking, but I've found intuition a surer guide, feeling a wiser teacher, and imagination a more rewarding companion. Ishmael says in the first paragraph of Moby Dick that when the world of man presses too closely round him, he goes to sea it's his substitute for powder and ball. That blank sheet of paper is my ship to the great world where rolling seas and tumbling mountains are the avatars of the world's energy, starry skies beckon us to dreams and sunsets display the majesty of which we are part.

    Carol Summers found the reversal on image in printing disconcerting, and the staccato edges of traditional woodcuts seldom fit his imagery. Instead, he uses dull tools that tear the wood and rolls the ink directly on the paper with the cut block underneath, like a rubbing. He then sprays the print with a solvent that dissolves the ink, enhancing the brilliance of the colour and softening the edges. Sometimes he prints on the back of the paper and draws the ink through to the front with the solvent, muting the colours without opacifying them.


    Carol Summers: Exhibit
  • Aurora Boracha
  • Bay of Bengal
  • California
  • Diocletian's Retreat
  • First Rain
  • Flowering Landscape
  • Golden Bow & Silver Arrow
  • Grave of Santa Ana's Leg
  • Hilo Bay
  • India
  • Kali Gandaki
  • Lexington Fire
  • Likiang
  • Night
  • Pillars of Hercules
  • Ravenna's Palace Burning
  • Rolling Sea
  • Spirits of Trees
  • Sunset at Sea
  • Tomb of the Prophet
  • Trashi Labsta
  • Vasudeva...
  • Vecinos Lejos
  • Wild Palms

  • Most works are for sale directly from the artist. For information, contact Marilyn Grossman, Curator Stanford Art Spaces (650) 725-3622


    Go to top of this page                                                 Return to SAS Schedule