Carol Lind painting - newspaper clipping

Carol Lind — Walker Art Center Show

Here are two newspaper clippings from 1961 announcing and reviewing a show of my art in Minnesota.


City Woman to Have Walker Show

Carol Lind Tries to Get Inside Her Paintings

by DICK CUNNINGHAM, Minneapolis Tribune Staff Writer

The work of a 26-year-old Minneapolis woman named Carol Lind will go on exhibit in a one-man show at Walker Art center next Sunday. The show will run through Sept. 24. Carol Lind graduated from West High school in 1950 and went to the University Minnesota bubbling with interests in English, publications, philosophy, French . . .

"My Minnesota Multiphasic tests said I was interested in too many tings."

She threw herself into the yearbook for her first two years without coming any closer to a decision about what she wanted to do.

"All I like to do was read and think."

Then she took out her savings and went to Europe for four months.

"That was the first time I felt I was on my own and could think for myself."

She was bicycling along the Scottish coast north of Aberdeen when the decision came to her.

"I decided I was going to be an artist

"I didn't know anything about art. We had no books, no music, no pictures at home; (although I think my mother could have been an artist) I had never even been to the theater.

"I saw a lot in Europe, but I couldn't relate to it. I really didn't know a painting from a drawing."

She returned to the University and plunged first into photography, then into print making under Malcolm Myers, "a pretty great teacher."

"Cameron Booth was my other great teacher. He taught me an awful lot about drawing."

Carol won second prize in oil painting at the 1956 Minnesota State fair and her work has been increasingly accepted in regional shows since then.

"But I don't think I really painted anything until this year.

"I think those paintings were just copies. I was trying to do something instead of having anything to say."

That began to change in the fall of 1959 after she completed her master's thesis on the early Zen Buddhist painters and their relationship to contemporary painting.

"Instead of having to think out what I wanted to do and then trying to do it, I began to just do it."

She says the influence of the Zen painters show up in her own work particularly in the way she puts herself and the viewer inside the painting or drawing.

"They try to get with something that's really outside them. Westerners have sort of left it there, outside."

Carol has a 5-month-old boy, Leo, from her marriage to Mel Geary, another Minneapolis artist. She lives in a studio apartment at 1500 S. 6th St. where she and her husband used to operate a gallery called The Place. She does designs for a stained glass firm in St. Louis Park. She plans to keep on with that job for the time being because it's part time and it allows her to paint.

"I've got a lot of things I want to paint. But someday, I want to teach."



Lind Paintings Show Spontaneity, Warmth

Warmth and exuberance of feeling, a gift for communicating a mood, an emotion, a pictorial comment direct to the observer, are found in Carol Lind's 31 paintings and drawings on view at Walker Art center. These pictures seem to spring spontaneously from one whose art is highly sensitized to life and nature.

Miss Lind has studied Zen Buddhist painting, and her brush drawings with their evocation of transient moments and their ironic-poetic verbal statements trailing down the pictures' sides have the quality of Japanese art. A quick, suggestive impressionism is joined here with an impulsive rapport of eye and hand, snatching the moment from eternity.

The paintings, several of them large, are big vibrations with big and little rhythms swirling within them. "Spring Tree" and "Sunset Under Cottonwood" twinkle and murmur with joyous outbursts of color and aspiring forms. "A Path Through the Weeds" all in shaggy yellow and brown takes one close to the aromatic grass and earth.

There are others equally effective, such as the beautifully titled "What Tree Can Resist the Wind?," "Inner Pool" with its ominous weight of clouds over a watery solitude of waves, and "Town From Afar." The larger canvases and some of the smaller ones are tumultuous yet singing, and all are animated by a kind of outgoing, uncautious sense of life and movement—a joy to look at.

J. K. S. (John K. Sherman)

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