Submerged in the murk of modern life/Immersed in the murk of oil/The great mark-maker breathes forth clarity

After my initial fear of etching was erased by the printer, John Lund, etching became as important in my work and in the same orbit as painting and drawing. If I made a change on the etching then changed the painting or drawing to follow, it worked. If I changed the painting or drawing one week and then went out and changed the etching, it worked. Etching was as integral to my discovery and clarifying of the images as any other of my mediums.

Bill Jensen and Bill Goldston graduated together at the University of Minnesota. Both moved to New York in 1971, Jensen as an artist, and Goldston as a master printer at Universal Limited Art Editions. In 1982 upon the passing of Tatyana Grosman, owner and director of Universal Limited Art Edition, Goldston assumed responsibility for its day to day operation and invited Jensen to take up printmaking. To date, ULAE has published thirty-eight editions by Jensen with more to come.

There have been maybe millions of crucifixion paintings made, and so few of them clearly and convincingly communicate that feeling of deep tragedy that generations keep responding to.

The friendship of painter Bill Jensen and poet/translator extraordinaire David Hinton grew out of a shared interest in Eastern philosophy, Chinese poetry and painting, and other related subjects—and it is a friendship that seems to deepen as the years pass.

Vita Dear Vita // Colors hued to tight transitions / Non-Referential // Monastic studio practice / Endless belief, deep dedication

Thinking about Carl’s life, some of the things I know about him come from firsthand experience and some from stories Carl and other people told me. Carl led a very expansive and complex life for someone whose life was cut a little short.

You showed us that a cat’s life was not so bad. You said everything you do is about art.
You gave us all the courage and permission to be ourselves.
You could always see the absurdity of this life.
You taught us the Umbrella Dance.

Introduction
A curator of a small university museum I met through an exhibit I curated two years ago in Greenpoint Brooklyn, Homage to Albert Pinkham Ryder, spoke often of expanding the project to greater significance.