Humphries's silver is a noncolor — one might almost say an anti-color — and it sends light bouncing around crazily in all directions, creating a sort of
blur around the canvas that has approximately the same relation to the nebulous visual hum emitted by Agnes Martin's paintings as the chemically zippy drug - induced euphoria does to the putative clarity of serenity and insight in meditation.
Not exact matches
While other artists like Richard Tuttle and William T. Wiley were also experimenting with the unstreched
canvas during the same period, Gilliam's sculptural approach was revolutionary in that it repositioned the viewer's relationship with the painting to include the object as well as the space
around it,
blurring the boundary between painting, sculpture, and architecture for the first time.
[13] Begun
around 2001, the Piths,
canvases with deliberately frayed edges and covered in thick black strokes of paint, indicate Truitt's interest in forms that
blur the lines between two and three dimensions.