Color field painters efface the individual mark in favor of large, flat, stained and soaked areas of color, considered to be the essential nature of visual abstraction along with
the actual shape of the canvas, which Frank Stella in particular achieved in unusual ways with combinations of curved and straight edges.
In an effort to both accept and reject the formal, Elizabeth began to modify
the actual shape of her canvases moving away from traditional pictorial space of a rectangle or square.
Not exact matches
No one is going to match the rigor, energy, and humor
of Frank Stella and Elizabeth Murray with
actual shaped canvas, and that does not count the sheer feat
of its construction.
These works evoke the
actual use
of hide in a range
of Native American aesthetic practices (such as clothing, drums, and shelters) and the history
of the
shaped canvas in modern and contemporary art.
Instead
of experimenting with
shaped canvasses or geometric painting to imply volume, he takes the
canvas into three dimension to see how line and color are disrupted by
actual volume.