By Michael Mazur Studios are full of ghosts — ghosts of artists long gone, but not forgotten by relatives who hold on to their work spaces as memorials. When I visit them, I’m disconcerted by the sweet sorrow of their emptiness, their cleanliness and order. Yet the artist’s presence, nearly palpable, persists in the silent air. […]
By Christopher Busa Michael and Gail Mazur first appeared in our pages in 1990, when Provincetown Arts published “Common Ground: A Collaboration,” featuring four poems by Gail and two spreads of Michael’s intertwining monotypes, connecting paired poems with surrounding foliage, as if the poems appeared in successive windows looking out upon a garden. The Mazurs, […]
By John Yau The first poetry reading I gave after graduating from Bard College in 1972 was because of Gail Mazur. Although she didn’t know my poetry or me, she graciously invited me to give a reading at the Blacksmith House in Cambridge, Mass. It must have been in 1973 or ’74, as Gail founded […]
By William Grimes Michael Mazur, a relentlessly inventive printmaker, painter and sculptor whose work encompassed social documentation, narrative and landscape while moving back and forth between figuration and abstraction, died on Aug. 18 in Cambridge, Mass. He was 73 and lived in Cambridge and Provincetown, Mass. The cause was congestive heart failure, said Mary Ryan, […]
By Bryan Marquard Eternally damned and no longer human, a dark figure hunches forward on all fours, a pitchfork embedded in its back for all time. Giving chilling expression to the horror sketched in a poem, Michael Mazur’s monotype for “The Inferno,’’ first book of Dante Alighieri’s “Divine Comedy,’’ ushers readers into a canto that […]
By John Yau Presented in 2005 catalogue, made possible by the Mary Ryan Gallery
I am a loner. Far from wanting to work with others, I prefer working alone or with only a trusted assistant, someone who knows my work habits and is in my employ. I do as much as I can myself; for instance I’ve only recently adjusted to not stretching my own canvases when I was told they were out of square. And I stopped schlepping them around town myself only when I could no longer carry them up stairs and my wife, Gail, my real collaborator, told me I had to stop.
Michael Mazur “Monotype: An Artist’s View” New York: Metropolitan Museum, 1980. 262pp, exhibition catalogue surveying artists’ use of monotype processes; an important reference work, beautifully illustrated. Essays by Reed on monotypes in the 17th & 18th centuries; by Janis on the revival of monotype as a print process in the 19th century; by Shapiro on […]