The next time I stood in the same museum having a crucial experience with reductive abstraction, I was looking at Ellsworth Kelly's famous five
color spectrum piece in the 1996 show called, «Abstraction in the Twentieth Century: Total Risk, Freedom, Discipline,» and all of a sudden I was totally getting it, realizing for the first time how to internalize this kind of reductive painting as a sophisticated, witty statement.
Not exact matches
The collection rotated through several
color spectrums, moving first from bold blue then into reds and moving into softer hues, ending with the marvelous gold
pieces seen above.
A gemstone
color spectrum of fine jewelry
pieces in white diamonds and blue sapphires adds a chromatic boldness to the house's distinctive style.
The dimensions of this cooperation are expounded upon in this exhibition, which shows the many elements both artist have in common whilst working across a surprisingly wide
spectrum: reliefs, crushed foil structures, clashes of
color,
pieces of furniture and various objects stemming from the Eighties until today.
A closer look at their surface, however — at the interplay between rough and smooth, at the sometimes faded, sometimes vibrant
color spectrum, at the nooks and bumps formed by layers of inked paper and embedded and picked away
pieces — reveals the artist's interest in the tension between control and release.
To make Large
Spectrum Chart, which is both the highlight of «Slow
Color» at Morgan Lehman and an important reference for its other
pieces, Jaq Chartier began with a 40 - foot - by -50-foot gessoed white panel.
In
Color Pieces, video artist Nan Hoover has created spatial ambiguities through a muted colour
spectrum and subtle play of shadows and lights that are as much a test or rehearsal as a final
piece of work.
Unlike those previous
pieces, which were constraining and a bit forced in their way, these new offerings use the full
spectrum of
colors and an array of subsets thereof and incorporate a much richer array of compositional structures.
Ingeniously and idiosyncratically composed from multiple
pieces of wood and sections of canvas that have been lushly dyed in a
spectrum of rich
colors, the works have the natural feel of an organism, growing and replicating itself like a coral reef or Martian bacterium.
His artistry and experimentation with
color elevated his projection
pieces to a new artistic practice, while his iconic
pieces did not fall prey to derivation, as Wilfred once conceded he had «no pet
color... the whole
spectrum is my favorite.»