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. According to William Grimes’s obit in the NY Times, the cause was congestive heart failure. “Mr. Mazur first came to public notice in the early 1960s with two series of etchings and lithographs depicting inmates in a mental asylum in Howard, R.I. The series, �Closed Ward� and �Locked Ward,� rendered with the hand of a master draftsman, showed human beings in unbearable torment.
“These lost souls, John Canaday wrote in The New York Times, ‘have the terrible anonymity of individuals who cannot be reached, whose ugly physical presence is only the symptom of a tragic spiritual isolation.’ Mr. Mazur�s restless artistic temperament led him to explore a variety of styles and media, shuttling between realism and abstraction. He produced narrative paintings like ‘Incident at Walden Pond,’ a triptych from the late 1970s depicting the aftermath of a rape, and, beginning in the 1990s, abstract landscapes based on his own vascular system and on Chinese landscapes of the 12th to 15th centuries. ” Read the rest of the NY Times obit here.