Not exact matches
The show's first section, «Gestural
Abstraction,» is dominated by two
brushy, wall - filling paintings — one by Lee Krasner, the other by Joan Mitchell — of a kind that has been a staple at the museum since the 1940s.
Taking the route of big,
brushy and ethereal
abstraction after graduation in 2005 from the Art Institute of Chicago, her work has seen a recent turn to figuration.
His works embody variegated and often contradictory range of styles, interests, and approaches, from pointillist figuration to a kind of urban realism to
brushy or geometric
abstraction.
The work Dodd exhibited in the 1950s shows the influences of the period's gestural
abstraction, with areas of loose,
brushy color filling the spaces between recognizable subjects, like the cows she initially exhibited.
Tamuna Sirbiladze, whose
brushy paintings hovered between figuration and
abstraction, and who had her first New York solo show in August, died in Vienna on Wednesday of cancer - related causes.
There's also a solid helping of funkier, more - organic - looking
abstraction here — a veiny network of yellow and black lines by Daniel Reynolds, a
brushy green canvas by Gregory Montreuil, a spooky painting in pesto green and light purple by Gail Fitzgerald that looks like some ghostly undersea creature (and suggests a miniature, low - key Sigmar Polke) and, probably my favorite work here, a square with a few barely there marks, whiffs of different colors by Roberta Allen.
The fields of
brushy color that split and cleave in an untitled
abstraction from 1949 are particularly reminiscent of Still.
Loose and decadent, they read like a travelogue, documenting the sights in the same
brushy strokes of her
abstractions at the time.
Sillman supplies
brushy mid-century-like figurative -
abstractions à la de Kooning, Diebenkorn, and Guston.
Starting around 1950, Rothko built his reputation — the reputation that survives to this day — on almost - geometric
abstractions done in luminous washes of color: a
brushy rectangle of sunset red on a corn - yellow ground, or maybe Corvette blue floating on Kustom Kar purple.
Made with outrageous skill, humor, and daring, his meticulously constructed images combine elements of photorealism and gestural
abstraction in an attempt to update the
brushy breakthroughs of 1950s Abstract Expressionism for an era when images travel at the speed of light.
Most of the dozen works are
brushy, oil - on - canvas
abstractions, reminiscent in style of de Kooning or Gerhard Richter, which have been overlaid with obscuring materials: black plastic garbage bags, torn industrial tarps and worn - out blankets and towels.