What would a nude
abstract painting look like?
Here's what they will tell us: for
abstract painting look elsewhere (narrative rules in this biennial); fashion — meets — art doesn't rate; LA, a city whose artistic vitality the curators see as ascendant, does; slipshod facture's out; the real world's not, just unwelcome in unmediated, text — based versions; performance figures in the planning; and film and video will «be selected from the point of view of two curators of contemporary art.»
One of America's finest abstract painters, Chris Martin (born 1954) explores the fertile areas between sophisticated formalism and the visionary joy of outsider art, making
abstract painting look enviably effortless.
Recent displays of political art and
abstract painting look tailor - made for global markets.
Bleckner's
abstract paintings look as if they were viewed under black light.
At the same time, there is something else in Diebenkorn's art that is important for us to take account of - its west coast, Californian character, which gives to even his most
abstract paintings the look and feel of something pastoral.
Scott Olson's
abstract paintings look fragile and ethereal, even though they can be traced back to vigorous physical processes.
Grappling with the complex and often contradictory relationships between the body and mind, the artist's
abstract paintings look to mathematical equations for their harmonious and inventive grid - based compositions.
The slyly appropriational
abstract paintings look liveliest.
Oddly, although
abstract painting looks on the surface to have more people doing a greater variety of things, the content doesn't seem to me to be all that diverse — i.e. the «field» for painting to operate in feels quite narrow.
Not exact matches
He'll let us
paint our portraits of him, and I think he
looks with delight on each one, whether they are finely honed photorealism, impressionism, or finger -
painted abstract portraits that put an eyeball where a chin should be and use purple when he really should have been green.
When one
looks at an
abstract painting, he may be confused.
I guess if I were to pick just one to put on my wall it would be this
abstract floral
painting in acrylic, which is strongly inspired by a 1950s retro
look, that I really love
We have one wonderfully creative child who doesn»» t see mess — it all
looks like an
abstract painting to her!
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I am always
looking for art whether it's an
abstract painting or vintage graphic print.
However, a lot of prints can make you
look like an
abstract painting gone wrong.
Artistically, the game
looks like an
abstract painting at times while other moments are like a clear, colorful breath of fresh air.
Looking closer, Everhart began to see echoes of Chinese ink
paintings and the black - and - white
paintings of
abstract expressionists of the»40s and»50s, such as Franz Kline, Willem de Kooning and Robert Motherwell.
So I was not
looking at
abstract expressionist
paintings, but I was
looking at all that color and pattern and repetition in the tile work, and it gave me this insight into an experience that is not narrative.
The problem I found with most of these
paintings is that they're all either the very traditional detailed oil
paintings, or they're the modern
abstract cartoonish
looking paintings, which is fine if that's your thing, but that seems to be the extent of the Judaic art world.
Art fairs are often associated with
abstract painting (much of it
looking the same), stunt pieces (almost instantly forgettable), and neon sculptures (brightly and, in many cases, annoying), but, at this year's Armory Show in New York, some galleries had on offer works that explicitly addressed the political situation in the United States.
Brett Baker (BB): Your new small
paintings look interesting - more
abstracted [than earlier works] but still closely observed.
Lots of artists try to make
abstract paintings that
look primitive, but Walker is one of the few to succeed at it.
Anyone who has
looked at a lot of
abstract painting will suspect that, rather than transcending creative struggle, Lawlor has learned to camouflage it.
We began talking about it, and they were astounded because they had been
painting abstract art, so I had twenty years they didn't remember, they didn't realize anybody remembered that they made collages with matchsticks and tried to
look like Picabia.
In transmuted form it remains a fascination: how did this
abstract painting get to
look like this?
In 2013 NYTimes review, Holland Cotter praised Whitten for his restless energy: With a career grazing the 50 - year mark, Jack Whitten is still making work that
looks like no one else's, which is saying something, given the flood of
abstract painting in New York... read more... «Quick study»
Therefore,
looking forward to Part 2, in which you will no doubt explain how
abstract painting continues that amazing duality and its resolution!
A critic once wrote that my work asked the same question of its viewer that John Q. Public would ask when
looking at an
abstract painting.
What shocks us in part is the fact that it is a sculpture at all — it
looks like an
abstract painting created under the influence of, say, free - form jazz.
This exhibition, his first major museum show, covers a relatively brief yet vibrant period starting in 2011, from his
abstract paintings on rawhide to sculptural figures decked out in beads, jingles, and a rainbow of fibers that
look like Afrofuture kachina dolls.
Though Flack has become an artist with an impressive career as a representational painter, and later a sculptor of public monuments, her early experiments in
abstract painting — like those of Pat Passlof, shown at Elizabeth Harris last year — mirror and impersonate the classic AbEx
look.
The results often
look like simple
abstract painting, while calling to mind the plastic possibilities of photography, a medium that is perpetually evolving.
Looking at painters who came to prominence in the 1960s,»70s and»80s, this book shows how
abstract painting has developed in the wake of postwar movements such as Art Informel.
But if you
look at a lot of this
abstract painting and you put it against the history of abstraction, or you
look at this figurative
painting and you put it against the history of straight - up, Modernist figurative
painting, a lot of these artists are not really offering anything that adds much.
Every single one has extraordinary color: the variety and brightness each piece carries, detail: the amount of work that is put into every aspect of each
painting that make it
look so realistic and
abstract, lighting: the bright light shining throughout each image giving each piece an intriguing positive / enthusiastic energy, shading: the detailed shadings on each face giving them that 3 - dimensional
look, definition: the quality of the defined lines that are portrayed through every
painting (piece) and every small detail in the
painting (like the faces and body parts) line: the complex and balanced lining that is seen in both, the
abstract and realistic images in these works, texture: somewhat giving off an appealing texture to the works by the dimensions, as if you can reach out and grab the images, dimension: the realistic
look that each women has (3 - dimensional), spacing: the space is used wisely in each work, very nicely spread out adding to its originality, touch: the clear and powerful finishing touch that every piece has, and the most visible that is seen in every piece here, is simply life.
Gruin noted that she had already been preparing a «response» exhibition to Hirst's «Veil
Paintings,» which will take place from May 16 through June 17 and include the work of Maringka, Gabriella Possum Nungurrayi and Polly Ngale, each of whom works in an
abstract painterly style and whose works
look similar to that of the 52 year - old British Hirst.
The result is a creative experience that viewers themselves undergo as they
look at an
abstract painting.
He notes that the artist's off - kilter, hand -
painted geometry — unlike the hard - edge
look created by applying and peeling off tape — places him in «a tradition that goes back to early
abstract painting by Mondrian and Malevich,» adding, «I see his ties with Constructivist
painting.»
We can say that it is
abstract, non-objective, about colour and form and our perception of those things, but we live in an age of plastic, so much more baggage to
look at
paintings with.
A hefty square of mud from Italy (Arte Povera indeed)
looks merely
abstract, and Josh Tonsfeldt's
painted wood with Simon Preston
looks more aged than battered and neglected.
What's on view: Several puffy,
abstract paintings that
look like they're filled with colorful gel; sculptures assembled out of household - size objects in steel, sometimes coated with beads and materials that
look like straw and resin; often, they're outfitted with holes in them
Okamoto Tarō photographs earthenware, but with the
look of rugged
abstract sculpture, and
paints Law of the Jungle with a zipper running down the middle.
Arranged thematically, the exhibition
looks at her surrealist
paintings of the 1930s and the
abstract works of the 60s, as well as her anti-war cartoons.
As someone whose job is at least in part to make these distinctions, how can you tell the difference between a genuinely good
abstract painting versus, as you say, something that is very salable — something that simply
looks like an
abstract painting?
They were these weird, muddy
paintings that
looked half -
abstract and half - figurative on these cheap, skinny canvases with visible tacks in them on the side.
The dancer, Amanda Pina from Chile, whose face and body are
painted so that she
looks like an
abstract expressionist skeleton, is filmed in front of the Austrian National Bank, reminding us of the treacherous potential for connections between politics and economics.
THIERRY GOLDBERG
Looking at Stas Volovik's small,
abstract paintings, you might guess that they were made in the 1930s by a previously unknown follower of Kandinsky's late work.
Through layers of
paint applied in an utterly
abstract gestural style, which seem to cover instead of disclosing an image, the pictures record time, summing up the experience of
looking, processing, and representing.»