Sentences with phrase «drips of paint which»

Her Little Image series which she began in 1946 incorporated dots and drips of paint which inspired Pollock's now famous action painting of the same period.

Not exact matches

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Following in the tradition of Jackson Pollock, whose drip paintings finally broke the bond between painter and canvas, and Frank Stella's Black Paintings which discarded the need for spatial illusion, Judd makes the next, unassailable step of taking art into a new dimension — a dimension in which it could finally achieve the full potential of crpaintings finally broke the bond between painter and canvas, and Frank Stella's Black Paintings which discarded the need for spatial illusion, Judd makes the next, unassailable step of taking art into a new dimension — a dimension in which it could finally achieve the full potential of crPaintings which discarded the need for spatial illusion, Judd makes the next, unassailable step of taking art into a new dimension — a dimension in which it could finally achieve the full potential of creativity.

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.

Jaison places his canvas flat on the table and uses a modern painting technique of dripped - on paint texture, which gives his work a gracefully energetic appearance.

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.

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.

Unlike the kind of action that is so identifiable in Abstract Expressionist painting, which entails the different layers in the case of Pollock's drip paintings, scraping and repainting in the case of de Kooning, you sort of invented your own kind of action painting, in a way.

The strange violence that has been exerted on the canvas, and therefore to the Nurse of Greenmeadow herself, with paint dripping down the surface, recalls the shock and scandal with which de Kooning's celebrated paintings of women were received in the late 1940s and early 1950s, puncturing the myth of the woman in art.

Pollock had enjoyed great success with his drip paintings of 1947 - 50, some of which are included in a major show of his late work at Tate Liverpool (Summertime: Number 9A, 1948).

Rodney Graham» show at 303 Gallery (loathed by bloggers for their «no photography allowed» policy) consists of drip paintings styled in the manner of Morris Louis, and a huge studio photograph in which Graham recreates the fictional livingroom where the paintings were created.

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.

Rust - red canvases (which represent well the actual work) are strewn about, a single line of light illuminates a real dripping red spill of paint, foreshadowing blood and suicide.

Pollock is most strongly associated with his drip paintings, which culminated in his exhibition at Betty Parsons in the fall of 1950.

The series of four studies reveals the process for Tompkins» paintings, while the additional drawing, Double Drip Mouth, 1971, relates to the pop art movement of which influenced the artist while she was an art student.

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

The pioneering drip technique of Jackson Pollock introduced the notion of Action Painting, where the canvas became the space with which the artist would actively engage.

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.

That Rauschenberg is acutely aware of the ironies of his situation is clear in his duplicated «action paintings» Factum I and Factum II, in which he proves the lie of abstract expressionist spontaneity by accurately reproducing every drip and splatter.

Rounding out the exhibition are paintings by Sally Ko, in which she creates melting, deconstructed, plastic - like surfaces, which contrary to the title of the exhibition, almost resemble acid drips.

While the exhibition emphasizes Hofmann's drawings from the 1930s and»40s, there are a few highly suggestive late works in the exhibition, particularly several untitled pieces from 1961 in which the artist contrasts a few seemingly carefree drips and spatters of richly hued oil paint with delicate felt - marker traceries.

Number 32 is one of a small number of more intimate 1949 paintings in which the artist more fully explored the subtleties of the drip technique.

The artist drips and meticulously builds layers of thick oil paint in her modestly scaled works, the largest of which measure three feet square and the smallest seven inches square.

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

(What appear to be snowflakes in many of his paintings are incidental paint - splotches, reproduced from the source photographs upon which they dripped.)

More surprising are the large areas of cascading black drips, which the viewer might assume were added to cover the white paint.

From 1960 to 1963 she executed her famous Tirs (Shoot) pieces, which drip like Pollocks but which de Saint Phalle produced by shooting a rifle at balloons of colorful paint mounted on white canvases.

Her playful acrylic abstractions on paper focus more on the geometric patterning of interlocking diagonals, which she breaks up with loosely applied paint, dripping through the composition.

(born 1938, Bronxville, New York, USA) in his earliest mature works explored a reductive strategy which seemed similar to that of Jasper Johns's and Ellsworth Kelly's contemporaneous works, yet more formalist: paintings such as Return 1 consist of subtly grey fields painted in encaustic (wax - medium) with a narrow strip along the bottom of the canvas where Marden left bare evidence of process (i.e., drips and spatters of paint).

Loose brushwork, semi-visible underlayers, and untouched drips of paint reveal the process of careful adjustment by which he arrived at the work's seemingly casual perfection.

At the company's Brooklyn preschool, which follows an arts - based curriculum, children learn the basics, like colors, shapes, counting, and vocabulary, but do so through works of art — like Jackson Pollock drip paintings, the Metropolitan Museum of Art's unicorn tapestries, Vivaldi's Four Seasons, or the Broadway musical Bring in» da Noise, Bring in» da Funk.

The glowing neon lights add a shocking stroke of energy that serve as a spotlight for the works which are literally dripping with paint, reminiscent of a sweaty body that might be found at an underground dance hall.

It was the year in which he really got into his stride with drip painting,» said Jeremy Lewison, the former director of collections at the Tate who has written a book on Pollock and is now an art consultant.

In the 1970s she was known for her room - sized installations and later, influenced by the equally vanguard John Cage and Agnes Martin, she struck upon a method of poured painting, where she dripped paint onto paint, creating waterfall - like giant canvases which were stoic and imposing, suspended in time.

The catalogue notes of the work, shown below, that «The passages of dripping paint, which run counter to the painting's vertical format, embolden the architectonic composition, creating the dynamic tension of opposites that is the hallmark of Kline's abstractions.»

Miquel Barceló placed a number of canvases on the floor, which were randomly covered by the paint dripping from the ceiling.

The drips and washes that so vividly recall the liquid state of the paint as it leaves the brush are most aptly visible in the perfect summer painting, Pool, which uses four panels of Dura - lar paper (like vellum) on which she has drawn more than painted the delicate tracery of plants, layered over a firm painting of a pool edged in a blue crosshatch pattern, the most representational moment in the show.

There is a distinctive grid, irregular and rounded, that appears when you tilt a canvas with a dripping swath of paint on it along one axis and then across it... The other form taken is the hidden pour, in which the force of the falling paint removes evidence of the human hand from the application, leaving the viewer to wonder how the shapes got there.»

Using emphatic but controlled paint strokes, dabs, drips, and smears, these images simultaneously recede and approach in terms of abstraction and figuration, which cleverly simulates the equivalent qualities of memory as a sensory experience.

In 1946 she began her Little Image paintings, a tightly focused series of works in which her use of dots and drips of paint were inspired by Pollock's «drip paintings» of the period.

Interest grew for works such as Spring (1940) and Fantasia (1943), which, in their innovative dripped and curvilinear forms spreading across the picture surface, substantiate the claim that Hofmann was a founder of automatism in American painting.

As a symbolic activity of Korean unification, the Klein blue is splashed, dipped, dripped on top of colorfully painted images of «Happy Land» themed Styrofoam punch - out paper toys found in Choco · Pie boxes, which are smuggled into North Korea from the South.

For instance, it often confuses examples of abstract expressionism and action paintings, in which artists drip or fling paint and step on the canvas.

This is, in part, thanks to the lurid pink and purple slashes of paint on those white walls, the by - products of her recent paintings, enormous enamel - on - metal works which feature steamy, sexy, dripping images of women, often behind glass — in effect trapped, in reality free.

She has become known for her «drip» - style paintings, which often represent a challenge to the hegemony of Jackson Pollock.

This revelation prompted the extensive «Waterfall» series of large - scale paintings, which she made by hurling washes of black and white paint onto the top portion of the canvas and letting them drip to the bottom to create the illusion of waterfalls.

While Kaloidis» work is more action explicit, portraying direction of motion through drips and splatters, paintings by Szot feature an array of shapes and patches of different hues and layers, which rely on the juxtaposition of color and form to convey stories of their own.

In... all these bright ideas (2013), one of a series of three paintings, the entire surface is covered in powdered graphite, which creates extreme variations in texture and color contrast, as muted gray paint mingles with neon blue drips.

He began by pouring bold, sometimes even fluorescent colors of paint directly onto unprimed, unstretched canvases, which he would then fold and crumple while still wet to create luminous washes of color layered with glowing striations, drips, and pools of pigment.