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	Comments on: Pat Passlof, 1928-2011	</title>
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	<link>https://artcritical.com/2011/11/15/pat-passlof/</link>
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		<title>
		By: Leon Hollins III		</title>
		<link>https://artcritical.com/2011/11/15/pat-passlof/#comment-14262</link>

		<dc:creator><![CDATA[Leon Hollins III]]></dc:creator>
		<pubDate>Thu, 05 Jan 2012 22:52:49 +0000</pubDate>
		<guid isPermaLink="false">https://artcritical.com/?p=20471#comment-14262</guid>

					<description><![CDATA[It&#039;s always sad to lose jewels such as Ms. Passlof.]]></description>
			<content:encoded><![CDATA[<p>It&#8217;s always sad to lose jewels such as Ms. Passlof.</p>
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		<title>
		By: geoffrey dorfman		</title>
		<link>https://artcritical.com/2011/11/15/pat-passlof/#comment-12866</link>

		<dc:creator><![CDATA[geoffrey dorfman]]></dc:creator>
		<pubDate>Fri, 02 Dec 2011 17:24:41 +0000</pubDate>
		<guid isPermaLink="false">https://artcritical.com/?p=20471#comment-12866</guid>

					<description><![CDATA[As I said from the rostrum at her funeral, Pat was a marvelous writer, a natural; she ushered her gifts towards painting, which is where her heart truly lay, but she probably could have excelled in anything she set her precise mind to. Here&#039;s her description of the gorge above her property in the Catskills: (a little taste:)


Absurd as sunsets and autumn foliage, Bear Cliff has been attempted by nearly everyone who wielded a brush in the ‘tradition’; all with an inexplicable urge to people its stark heights with gamboling children and ladies with parasols. Does this impulse reflect upon the abstraction question? In fact, the precipitous tilts and chasms of this masonry beach at the brink do not tolerate careless moves: many have fallen. The same cataclysm that fractured the columns of the mountain to its roots hurled boulders about its crest. They remain in a blast of silence, poised in freeze-frame positions; white silhouettes against the basin of Shawangunk valley, where distant reflections on steel, glass, water, glint and twinkle like real stars in an upside-down heaven. It is still more difficult to believe that, today, sun pours through cloud-sieve in palpable rays, vertical pillars holding up grand old dome — vast and empty at the moment. A small, silent plane unexpectedly flexes its six-foot wingspan; the red head of a turkey vulture catches the light. We are looking down at hawks, squinting into haze and steady wind which erodes sun-bleached quartz conglomerate and stunts pitch pines. The warm updraft at the edge brushes our cheeks. 
    —	Pat Passlof, New Observations #34, Copyright 1985. ISSN #0737-5387

Published by New Observations Ltd., 144 Greene St.  NY, NY, 10012
Guest Editor: Shoshona Kalisch
Publisher: Lucio Pozzi]]></description>
			<content:encoded><![CDATA[<p>As I said from the rostrum at her funeral, Pat was a marvelous writer, a natural; she ushered her gifts towards painting, which is where her heart truly lay, but she probably could have excelled in anything she set her precise mind to. Here&#8217;s her description of the gorge above her property in the Catskills: (a little taste:)</p>
<p>Absurd as sunsets and autumn foliage, Bear Cliff has been attempted by nearly everyone who wielded a brush in the ‘tradition’; all with an inexplicable urge to people its stark heights with gamboling children and ladies with parasols. Does this impulse reflect upon the abstraction question? In fact, the precipitous tilts and chasms of this masonry beach at the brink do not tolerate careless moves: many have fallen. The same cataclysm that fractured the columns of the mountain to its roots hurled boulders about its crest. They remain in a blast of silence, poised in freeze-frame positions; white silhouettes against the basin of Shawangunk valley, where distant reflections on steel, glass, water, glint and twinkle like real stars in an upside-down heaven. It is still more difficult to believe that, today, sun pours through cloud-sieve in palpable rays, vertical pillars holding up grand old dome — vast and empty at the moment. A small, silent plane unexpectedly flexes its six-foot wingspan; the red head of a turkey vulture catches the light. We are looking down at hawks, squinting into haze and steady wind which erodes sun-bleached quartz conglomerate and stunts pitch pines. The warm updraft at the edge brushes our cheeks.<br />
    —	Pat Passlof, New Observations #34, Copyright 1985. ISSN #0737-5387</p>
<p>Published by New Observations Ltd., 144 Greene St.  NY, NY, 10012<br />
Guest Editor: Shoshona Kalisch<br />
Publisher: Lucio Pozzi</p>
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		<title>
		By: Ula Einstein		</title>
		<link>https://artcritical.com/2011/11/15/pat-passlof/#comment-12746</link>

		<dc:creator><![CDATA[Ula Einstein]]></dc:creator>
		<pubDate>Tue, 29 Nov 2011 18:23:27 +0000</pubDate>
		<guid isPermaLink="false">https://artcritical.com/?p=20471#comment-12746</guid>

					<description><![CDATA[I did not know much about Pat at all...just so moved reading your expressions, David C. and all the comments.  stirs the soul. and always a great reminder of this huge web of life and influence we are all part of...]]></description>
			<content:encoded><![CDATA[<p>I did not know much about Pat at all&#8230;just so moved reading your expressions, David C. and all the comments.  stirs the soul. and always a great reminder of this huge web of life and influence we are all part of&#8230;</p>
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		<title>
		By: Rachel Youens		</title>
		<link>https://artcritical.com/2011/11/15/pat-passlof/#comment-12471</link>

		<dc:creator><![CDATA[Rachel Youens]]></dc:creator>
		<pubDate>Tue, 22 Nov 2011 13:55:30 +0000</pubDate>
		<guid isPermaLink="false">https://artcritical.com/?p=20471#comment-12471</guid>

					<description><![CDATA[I began to know Pat around 1999, after she had telephoned me in response to a short essay I wrote on her current exhibit. She was stern, kind and funny. She understood how to bind people together within a milieu; sharing her legacy, embodied in her anecdotes, her aesthetics and her convictions, with us. The effect of talking to Pat always strengthened my spine and my spirit.]]></description>
			<content:encoded><![CDATA[<p>I began to know Pat around 1999, after she had telephoned me in response to a short essay I wrote on her current exhibit. She was stern, kind and funny. She understood how to bind people together within a milieu; sharing her legacy, embodied in her anecdotes, her aesthetics and her convictions, with us. The effect of talking to Pat always strengthened my spine and my spirit.</p>
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		<title>
		By: Margaret Randall		</title>
		<link>https://artcritical.com/2011/11/15/pat-passlof/#comment-12309</link>

		<dc:creator><![CDATA[Margaret Randall]]></dc:creator>
		<pubDate>Fri, 18 Nov 2011 16:34:46 +0000</pubDate>
		<guid isPermaLink="false">https://artcritical.com/?p=20471#comment-12309</guid>

					<description><![CDATA[Yes, dearest artist and friend! Pat was an important part of my life. I am so grateful we got to share a quiet breakfast when I was in the city earlier this year. True to her indomitable style, she never mentioned the cancer. More recently, in NYC again, my visit happened to coincide with the opening of Milton&#039;s work at Chaim &#038; Reid. I waited for Pat to arrive, left her a note when I had to leave for another engagement. And that was it, until the telephone call last week telling me she is gone. Many memories of our lives in the late fifties in NYC floating back to the surface. A great woman has left us, but she left us a lot.]]></description>
			<content:encoded><![CDATA[<p>Yes, dearest artist and friend! Pat was an important part of my life. I am so grateful we got to share a quiet breakfast when I was in the city earlier this year. True to her indomitable style, she never mentioned the cancer. More recently, in NYC again, my visit happened to coincide with the opening of Milton&#8217;s work at Chaim &amp; Reid. I waited for Pat to arrive, left her a note when I had to leave for another engagement. And that was it, until the telephone call last week telling me she is gone. Many memories of our lives in the late fifties in NYC floating back to the surface. A great woman has left us, but she left us a lot.</p>
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		<title>
		By: David Brody		</title>
		<link>https://artcritical.com/2011/11/15/pat-passlof/#comment-12307</link>

		<dc:creator><![CDATA[David Brody]]></dc:creator>
		<pubDate>Fri, 18 Nov 2011 13:39:55 +0000</pubDate>
		<guid isPermaLink="false">https://artcritical.com/?p=20471#comment-12307</guid>

					<description><![CDATA[It was my incredible luck to have Pat as my teacher in 7th grade and beyond.  Talk about influence.  The drawings of skulls, guillotines, the sort of things I had been impressing my friends with, she dismissed forever on the first day of art class with one seen-it-all sigh.  

One time, in frustration, or defiance, I grabbed three or four brushes with different colors of oil paint and started smearing them around.  &quot;Now you&#039;re painting,&quot; she said.  She let me cut my classes and paint all day.

In my 20s I lived on Staten Island and would hang out with her when she taught her classes there.  By then I was a confirmed abstract painter, and I lapped up those New York School and Black Mountain stories, straight from the horse&#039;s mouth.  I heard about all the other students leaving de Kooning&#039;s class.  I argued with her about Ouspensky.  She told me Monet was better than Cezanne.  About now, 25 years later, I am finally ready for her next lesson.]]></description>
			<content:encoded><![CDATA[<p>It was my incredible luck to have Pat as my teacher in 7th grade and beyond.  Talk about influence.  The drawings of skulls, guillotines, the sort of things I had been impressing my friends with, she dismissed forever on the first day of art class with one seen-it-all sigh.  </p>
<p>One time, in frustration, or defiance, I grabbed three or four brushes with different colors of oil paint and started smearing them around.  &#8220;Now you&#8217;re painting,&#8221; she said.  She let me cut my classes and paint all day.</p>
<p>In my 20s I lived on Staten Island and would hang out with her when she taught her classes there.  By then I was a confirmed abstract painter, and I lapped up those New York School and Black Mountain stories, straight from the horse&#8217;s mouth.  I heard about all the other students leaving de Kooning&#8217;s class.  I argued with her about Ouspensky.  She told me Monet was better than Cezanne.  About now, 25 years later, I am finally ready for her next lesson.</p>
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		<title>
		By: rosalyn drexler		</title>
		<link>https://artcritical.com/2011/11/15/pat-passlof/#comment-12266</link>

		<dc:creator><![CDATA[rosalyn drexler]]></dc:creator>
		<pubDate>Thu, 17 Nov 2011 17:42:42 +0000</pubDate>
		<guid isPermaLink="false">https://artcritical.com/?p=20471#comment-12266</guid>

					<description><![CDATA[Dearest artist and friend...Farewell]]></description>
			<content:encoded><![CDATA[<p>Dearest artist and friend&#8230;Farewell</p>
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		<title>
		By: Elaine Smollin		</title>
		<link>https://artcritical.com/2011/11/15/pat-passlof/#comment-12235</link>

		<dc:creator><![CDATA[Elaine Smollin]]></dc:creator>
		<pubDate>Wed, 16 Nov 2011 20:34:59 +0000</pubDate>
		<guid isPermaLink="false">https://artcritical.com/?p=20471#comment-12235</guid>

					<description><![CDATA[Pat was a painter to ardently admire- for all of us younger painters who came of age, who are much indebted to her passion and brillance- we will miss you, Pat.  Recently, she described her involvement with her Centaur paintings to me as &quot;figures of myth with no narrative&quot;!
Thank you, Pat, for your lovely, pointed humor and dazzling gifts.]]></description>
			<content:encoded><![CDATA[<p>Pat was a painter to ardently admire- for all of us younger painters who came of age, who are much indebted to her passion and brillance- we will miss you, Pat.  Recently, she described her involvement with her Centaur paintings to me as &#8220;figures of myth with no narrative&#8221;!<br />
Thank you, Pat, for your lovely, pointed humor and dazzling gifts.</p>
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		<title>
		By: Paul Behnke		</title>
		<link>https://artcritical.com/2011/11/15/pat-passlof/#comment-12226</link>

		<dc:creator><![CDATA[Paul Behnke]]></dc:creator>
		<pubDate>Wed, 16 Nov 2011 17:22:40 +0000</pubDate>
		<guid isPermaLink="false">https://artcritical.com/?p=20471#comment-12226</guid>

					<description><![CDATA[There&#039;s a good chapter of Pat&#039;s memories in the Resnick book Out of the Picture...]]></description>
			<content:encoded><![CDATA[<p>There&#8217;s a good chapter of Pat&#8217;s memories in the Resnick book Out of the Picture&#8230;</p>
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		<title>
		By: Elisabeth Condon		</title>
		<link>https://artcritical.com/2011/11/15/pat-passlof/#comment-12200</link>

		<dc:creator><![CDATA[Elisabeth Condon]]></dc:creator>
		<pubDate>Wed, 16 Nov 2011 01:23:32 +0000</pubDate>
		<guid isPermaLink="false">https://artcritical.com/?p=20471#comment-12200</guid>

					<description><![CDATA[In the 1990s I once spoke with Pat on the phone, when she began to reminisce. Gruffly, she stated painters in her day didn&#039;t need cd players, heat, or even hot water to paint. Curiosity (could I, two generations behind, paint in silence every day, or go without heat longer than a few hours in winter?) vied with  admiration for her grit, reflected in the unrelenting surfaces and patterns of her paintings.]]></description>
			<content:encoded><![CDATA[<p>In the 1990s I once spoke with Pat on the phone, when she began to reminisce. Gruffly, she stated painters in her day didn&#8217;t need cd players, heat, or even hot water to paint. Curiosity (could I, two generations behind, paint in silence every day, or go without heat longer than a few hours in winter?) vied with  admiration for her grit, reflected in the unrelenting surfaces and patterns of her paintings.</p>
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