Sentences with phrase «drip paintings as»

In an influential 1958 article, Allan Kaprow, the inventor of the free - form events known as Happenings, described Pollock's drip paintings as pivotal in the way they turned the artist's action directly into art content.

Of course, one school of thought says that Pollock always saw even his great abstract drip paintings as figurative.

When I did the piece crossing the Delaware River on foot, dripping paint as I went, the current took me under, and I lost not only the paint but also the camera I was using to document the work.

Not exact matches

«Dripped six to eight drops of liquid watercolor inside, closed the lid, and spun it — their arms demonstrating thrust to power the spinner, and the paper conveying drag lines visible as the paint was pulled.

Moose sticks his mug out of his window, his slobber dripping all over the Fiat's orange paint, as we head back toward the highway.

The only similar looking thing I saw, that wasn't rust, was tree sap dripping on one car that sat under a tree for years, the stuff was as hard as the clearcoat, took forever to clean it off without damaging the paint, but hard to say just from pics

It isn't as eye - catching as an Impala dripping in candy paint, but it's strange enough to be welcome at any cruise - in or car show around the nation.

For example, in the Jackson Pollock show at MoMA you saw him abandon the drip paintings toward the end of his life and almost revert back to what he was searching for as a young painter.

Kurchanova writes: «Apart from large canvases covered by Pollock's signature all - over web of patterned, dripped or sculpted paint, a range of his smaller abstract paintings adds complexity to our understanding of his work as that of an «action» painter... Pollock's active engagement with printing presents his achievement as a painter to us from a completely different angle and complicates the understanding of his work as based in physical action and unmediated involvement of the artist's hand.

Spontaneity, chance, spilling, dripping and brushing became important working methods in the mid to late 1970s and Bowling began referring to his work as «poured paintings».

When you look at works such as Sobel's untitled 1944 painting shown, the temptation is not to see the vegetation like drip pattern blending with the figure as much as to see the dripped paint obscuring the figure — just as circumstances conspired to obscure the figure of Janet Sobel for more than half a century.

With no training, she developed her unique style, often labeled as «outsider» or «folk» art, of painting simple figures and covering them with a rhythmic pattern of dripping paint.

Pollock's home, which he shared with the painter Lee Krasner (1908 - 1984), and his art studio has been preserved as the Pollock - Krasner House and Research Center so visitors can see where the drip paintings were made and the couple lived.

With drips and amorphous shapes, the works feature lines of paint that the gallery says «seem to emanate muscle and speed» and showcase his work as a quirky and sensitive colorist.

In the 1940s and 1950s the main groups within the Abstract expressionism were the «Gesture Painters» and the «Color - Field Painters», who experimented with new techniques for applying paint: dripping, pouring, throwing, squirting, squeegeeing, and spattering, and with the use of unconventional tools, such as wall paper brushes, sticks, and trowels.

She defined that process as the drama touched off when an artist puts his or her brush to canvas, or when, like Jackson Pollock, he hurls or lets the paint drip or splatter down onto the canvas from an outstretched arm.

He then used paint pouring as one of several techniques on canvases, such as «Male and Female» and «Composition with Pouring I.» After his move to Springs, he began painting with his canvases laid out on the studio floor, and he developed what was later called his «drip» technique, turning to synthetic resin - based paints called alkyd enamels, which, at that time, was a novel medium.

Three Hirst «spin paintings» are included in the exhibition, because, as the gallery explains, they «point to the foundation of gestural abstraction, which places significance on techniques such as dripping, dabbing or flinging paint onto the surface of a canvas.

As the term says for itself, Action Painting is a style used in painting — a style that emphasizes the process of making art, often through a variety of techniques that include dripping, dabbing, smearing, and even flinging paint on to the surface of thePainting is a style used in painting — a style that emphasizes the process of making art, often through a variety of techniques that include dripping, dabbing, smearing, and even flinging paint on to the surface of thepainting — a style that emphasizes the process of making art, often through a variety of techniques that include dripping, dabbing, smearing, and even flinging paint on to the surface of the canvas.

Someday, for instance, I'd like to see Janet Sobel's 1944 drip paintings — admired by Pollock and which Greenberg would later cite as the first instance of» all - over» painting — placed within an Abstract Expressionist context.

Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works — his drip paintings — read as vast fields of built - up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural - sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces.

In the late 1940s, Jackson Pollock (1912 — 1956), now recognized as one of the most important Abstract Expressionist artists, began experimenting with a new method of painting that involved dripping, flinging and pouring paint onto a canvas laid flat directly on the floor.

Next time you look at the dripped paintings of Jackson Pollock, understand it as a result of the all - over technique of Lee Krasner.

Long after the workshop, artists such as Helen Frankenthaler and Yves Klein continued to experiment with unconventional techniques, expanding the vocabulary of painting to include drips, stains, body prints, and digital drawing, to name just a few.

As with Jackson Pollock's enamel tracery and Janet Sobel's drip paintings of roughly the same time, Gorky blows up the intimacy of drawing to the epic scale of painting.

As with Wool's early drip paintings, the influence of Jackson Pollock is observed here.

Starting from an abstracted image of a waterfall — paint which has been left to literally drip down across the painting's surface — Steir's paintings borrow from the vertical compositions of Chinese landscape painting and reference the metaphysical power of the waterfall as a symbol connecting heaven and earth.

Her working environment, documented for the first time in a number of new photographs by the artist, will be recreated as installations in the gallery, down to the paint pots, brushes, books and discarded scraps of newspaper that are similarly covered in the spatters, splashes and drips that result from her obsessive painterly method.

Within the grids and lines on the canvas are not small squares of flat, immobile color, but drips and dimples of very active paint — as if each square could also be a composition unto itself.

Jackson Pollock narrates his artistic process as he demonstrates the creation of one of his famous drip paintings.

The expressionistic, abstract gestures that motivate many paintings take new form in works such as Norman Bluhm's drawing that combines the physical properties of ink and gouache to show the drips, stains, and flow of abstract - expressionist gesture.

His drips, stains, and brushstrokes have a greater momentum, as if paint had exploded out of the can and landed on Mylar or canvas.

By the time Pollock painted the stunning Blue Poles, hanging opposite, in 1952, any form of representation had been dispensed with and the body in the painting was the artist's own as he physically stood on the painting, dripping on spiralling skeins of paint that recorded the physical reach of his body and arm.

Historians have argued that the work stands as a precedent both for the artist's own performances in the 1960s and for the explosion of performative work in that decade.20 Paul Schimmel astutely places Automobile Tire Print on a trajectory of performative works based on the notion of capturing an indexical trace, reaching back to Pollock's drip paintings, moving up through Rauschenberg's blueprints, and on to Piero Manzoni's Lineas (1959 — 61), Paul McCarthy's video Face Painting — Floor, White Line (1972, fig. 5), and Ulay and Marina Abramovic's 1977 performance Relation in Movement, in which they drove a van in a circle for sixteen hours, leaving a circle of oil drips and tire marks on a public plaza in Paris.21

«Pollock's extraordinary, still controversial black paintings of 1951 finally get the attention they deserve; they prove to be just as radical as his earlier, more celebrated all - over drip paintings, and speak even more to our own time as well,» said John Elderfield, Chief Curator Emeritus of Painting and Sculpture, Museum of Modern Art.

The changes did not stop either as drip painting became a basis for formalism.

A radical use of color is not the only thing that sets this work apart, Pollock's technique also made use of unprimed canvas, onto which he poured (as opposed to dripped) and soaked the paint into the surface.

Scribbled paint strokes blur the punchlines of comics, drips of white paint collide with a thick red line squeezed right from the paint tube, and bits of headlines such as «Dandruff may be the beginning of baldness» jump out amid abstract patches of pink, red, and yellow.

Jackson Pollock became a household name in 1949 when Life magazine published an article featuring photographs of him in action as he created his drip paintings.

Coming to art scene in the 1960s, she created the Fallen Painting in 1968 as a response to machismo of Pollock's drippings.

There is an undeniably sensual quality to the paint brushed onto the paper's surface as it modulates knowingly between generously applied paint that leaves delicate drips and the dryer, brushier strokes.

After an opening room of «classic» drip paintings, it plunges into a heartbreaking journey among the black, blotted, semi-figurative paintings that are usually seen as symptoms of his tragic decline.

These actions pay homage to Bruce Nauman's influential conceptual work Self - Portrait as a Fountain (1969) and, in a gendered critique, mock Jackson Pollock's drip paintings.

He does not so much use brushwork, drips, or poured paint as mop the paint on, with a long brush, somehow maintaining control.

A gorgeous flood of lilac splats hedonistically across «Kumari»; the painting's surround configuration of expressively handled discs of green, aquamarine and red, all on a volatile stained ground of yellow, places it in a well - established tradition of abstract paintings that read as cosmic metaphors (Pollock's drip paintings that were meant to mirror universal flux or more recently Julian Schnabel's blue splurge titled, tongue - in - cheek, «Portrait of God»).

Linnenbrink placed a Perspex box, which acts as a mold under his painting wall that has collected the drips of paint from his works.

Viewers in quest of figurative imagery were left simply with the drama of Hoyland's virtuoso handling of paint; the visual tug and pull as one field of colour leaked into or overlaid another, his vivid drips, spills and controlled pourings.

As Pollock developed from his early abstractions to the «drip» paintings for which he is known, his work fell more into Greenberg's ideal — painting about space and color and, above all, about painting itself.

Working first with oil paints and later acrylic, Jenkins poured paint directly on the canvas, allowing it to drip, bleed, and pool, as well as manipulating it with an ivory knife.

Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three - part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat).