Sentences with word «crapstraction»

Crapstraction's homogenized formal language represents a larger flattening in the «art world».

The panel that judged the open call for inclusion in 100 Painters of Tomorrow — which included Yuko Hasegawa, chief curator at the Museum of Contemporary Art, Tokyo; Philip Tinari, director of the Ullens Center for Contemporary Art, Beijing; artist Cecily Brown; and the critic Barry Schwabsky, among others — seems equally tired of this type of «crapstraction».

«Zombie Formalism» and «Crapstraction» are glib, voguish — although, it must be said, amusing — terms that have been thrown around.

Modest Abstraction, Zombie Formalism, Crapstraction and even some gender - related variants of the term are in circulation when it comes to those uninventive, appropriative, mechanical reproductions of the original aesthetics of abstract art.

Some old - school painters have branded the most obvious approaches «crapstraction.»

Dully handsome and all too plentiful, such collector bait has inspired a lot of colorful nicknames — «crapstraction» is a personal favorite — but the most enduring has been «zombie formalism,» coined by the artist and writer Walter Robinson (who, it must be said, is known for his figurative paintings).

In December, I gave a presentation titled «Crapstraction to Like Art» to students at the New York Academy of Art, and they defended Figgis, persuasively, for having a vision beyond her application style.

«Crapstraction» has been one label of opprobrium.

Sometimes disparagingly called «crapstraction,» the prominence that casualist work has gained in art schools and MFA programs has caused palpitations among older painters who despair that exalted painting traditions — technical proficiency, «rigor,» and the craft of building and priming canvases, for instance — will perish.

There seems to be a vast ocean of «crapstraction» punctuated by buoys and, in some cases, lighthouses that are meaningful.

The work of these four artists represent a clue to an antidote to the abundance of what is variously referred to as «zombie,» «provisional» and «crapstraction» currently so prominent in the galleries (The Art Los Angeles Contemporary art fair at the Santa Monica airport was brimming with these kind of hyper market - driven offerings this year).