Beginning in the 1930s, Holty used tape to create his hallmark crisp, clean -
edged painted forms.
Not exact matches
Now flatten your
painted toilet paper rolls and pinch the
edges so that they
form an oval shape.
John Yau, however, recently noted that the
forms in Held's early 60s
paintings, such as The Yellow X, extend beyond the picture plane, creating an awareness of the environment beyond the canvas
edge.
Kohler writes: «The warmth in Davidson's
paintings is both related to the strange and inventive
forms and color ideas they contain and to subtle decisions such as repainting by hand
edges that were initially made using tape.
Abstracted landscape
paintings (rolling hills and mountains in the
form of stripes and semicircles) have frames on their lower
edges that extend...
In the viewing room, Charles Hinman's Sugilite (2013) is a shaped hard -
edge minimal
painting which as we move is perceived differently: new colors, new facets, new
forms, new shadows, as the work is constantly reinvented.
These pieces include a pair of
paintings by Nak - Beom Kho, depicting closely cropped, chiseled male faces of mannequins, and black - and - white photographs of Nakamura's sculptural works such as Car Cover (1991), which show two
forms that each resemble the shape of a car — one rounded and the other square -
edged.
Done in enamel on identically sized aluminum panels, the highly concentrated compositions are the result of a visual algorithm in which the
forms increased incrementally in height and width as they moved outward from the central, vertical axis — a narrow, empty space — toward the
painting's physical
edges.
Partly a reaction against Abstract Expressionism, best known in the thickly layered
paintings of American artists Willem de Kooning and Jackson Pollock, Hard -
Edge emphasized angular lines, reduced
forms, precise surfaces, and rich colors.
The lightness of being in his work, the range of
forms, contours,
edges, saturations and coloring — and the lightness of the spaces in between his network of slashes, swatches, and other painterly exchanges, is so navigable for the eye that the
paintings are airy, permeable, and most significantly, written in a language that is all his own.
Could you talk a little bit about the
edges of
forms in your
paintings and how you think of achieving those
edges and why you don't like hard
edge specifically as a term.
[13] Begun around 2001, the Piths, canvases with deliberately frayed
edges and covered in thick black strokes of
paint, indicate Truitt's interest in
forms that blur the lines between two and three dimensions.
Sydney Ball, Zianexis, 2009 Acrylic on canvas, 152 x 168 cm March 4 - 21, 2010 The following extract is taken from «Sydney Ball: prophet of abstraction» by Wendy Walker, Sydney Ball: The Colour
Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract
Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent
form in Ball's
paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract
paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged -
edged motifs in the abstract -LSB-...]
The exhibition includes several of Andrade's major Op art
paintings, which combine hard -
edged geometric
forms and lines into illusory, and sometimes hallucinatory, compositions.
From the metal, mechanical
edges of Chimes» constructions to the sinuous drips in Steir's
paintings, line takes different
forms in this group exhibition of
paintings predominantly from the 1970s.
In these
paintings, one's eye is drawn not to the center of the canvas, but to the bold
forms that appear incised at the
edge of the surface.
Held's Alphabet
paintings from the early 1960s — large, flatly
painted hard -
edge abstractions based on letter
forms — preceded Schapiro's Ox series by a few years, and his black - and - white series are from 1967 — 69.
For over 30 years Hadid engaged with architecture as a
form of landscape
painting, transforming the traditional hard, geometric
edges of building into organic, liquid - like
forms.
(Beal didn't actually align himself with Hard
Edge movement, Mr. Adams told the Observer, but in addition to the
paintings he completed in those years, he studied flat planes and toyed with spacial illusions exhaustively in a multi-year, diaristic sketchbook titled The
Form Book, also on view in the gallery.)
The kite - like
form at the core of the hard -
edged paintings, and specifically the acute angles inside its triangular parts, offers a geometric basis.
The
painting's right
edge crops the blue
form while the left side of the green square about the unpainted vertical band.
Lennart made the rounds and sometimes, with permission, would work on a
painting, bringing our unruly tones into relationship, softening and eliminating
edges, helping us to see the big notes that could provide a more reliable basis for moving towards the smaller
forms and details.
Rooted in the language of architecture, Voisine's
paintings, prints and drawings convey a sense of shifting spatial interactions through the use of symmetry, color, surface, and precise, hard -
edged forms.
It presents color - driven work in the
form of monochrome, hard -
edge and color field
painting, sculpture and immersive installations.
The brushstrokes that bunch up along the
edge of the centralized
form in City Island (1958) are as involved with
paint handling as Kelly gets.
The abstract classicists
painted forms that are, in Langsner's words, «finite, flat, rimmed by a hard clean
edge... not intended to evoke in the spectator any recollections of specific shapes he may have encountered in some other connection.
Mental maps
form the basis of his working method: they push against the
edges of the picture plane; his larger
paintings exceed a strictly 2D plane, being more like relief sculptures, employing layer upon layer of collaged
forms — abstract
painting, ephemera from travel, photography and juxtaposed linear structures — to denote the performative aspect of his initial research.
The darkening
forms that
edge the
paintings create a sensation of swooping in and flying low over landscapes at the twilight hour.
This change took
form in the artist's iconic Beveled -
edge and «Drape»
paintings, in which canvases are liberated from their stretchers and suspended from walls and ceilings, blurring the lines between
painting and sculpture.
Although his early works can be considered a
form of Op art, as he depicted ovals and circles on flat surfaces of
paint, he developed in his later years a style that is more linked with hard -
edge and color field
painting.
And then there are hard -
edged paintings in which space and colour are flat, flat, flat and the canvas plays tricks on your eyes,
forming faces made from collections of interchangeable symbols such as smoke, fire, alligators, matches, razor blades, cigarettes and the letter «z».
There is a sense that the activity continues outside the borders of the
paintings as the
forms flirt with the
edges or get chopped off by them.
Electric Soup features Krushenick's dynamic
paintings that juxtapose bold
forms with hard -
edged abstraction, revealing a body of work that exists independent of and simultaneously connected to Op art, Pop, Abstract Expressionism, Minimalism, and Color Field
painting.
Hard -
edge painting is characterized by large, simplified, usually geometric
forms on an overall flat surface, precise, razor - sharp contours and broad areas of bright, unmodulated colour that have been stained into unprimed canvas.
Whereas the
forms of his wooden panel
paintings feature the careful precision and hard -
edges of geometric abstraction, the imperfections and «accidental noise» innate in Biltereyst's cardboard relief prints appear exploratory and rapidly configured, expressing not only the raw energy of creative problem - solving usually revealed in artists» preparatory sketches, but also an interest in graphic elements battered by everyday use, exposure and interaction.
Jenny Saville, whose
paintings of the female
form replace Rubens's joy in bodies with a morbid
edge, is curating a complementary show called La Peregrina, which will include work by Freud, Bacon, Picasso and Sarah Lucas.
In abstract
painting during the 1950s and 1960s several new directions like hard -
edge painting and other
forms of geometric abstraction began to appear in artist studios and in radical avant - garde circles as a reaction against the subjectivism of abstract expressionism.
Ippolito continued to open up the picture plane in his oil on linen 1980s works with the soft diffusions of color and suggestive
forms of «Paesaggio» (1980), the floating irregular shapes of «One June Morning» (1988) in a blue / lavender mist, the opposing
edges of shapes hanging on within the blue field of «Small
Painting» (1982), and the floating orange - on - orange diffusions suspended in «Orange» (1982), all pieces which exemplify Ippolito's belief in «color as light.»
In his «Eccentric Polygon» series, from 1965 and «66, he embraces asymmetry and bold color, creating
forms delineated by
painted fields and by the
edges of the canvas.
In folded
form, the
paintings asserted a quiet materiality; the textiles — in a range of white, cream and brown hues — often frayed at the
edges.
He has always
painted with a very hard
edge, and with very flat colors, but after graduation and moving to New York, he gradually began eschewing both
form and color, aside from black and white.
Moving from drawing, to
painting, to sculpture, the physical manifestation of her
forms brings to life the precision of Herrera's sharp
edges.
The Automatiste movement gave way in the mid-1950s to a rigorous
form of hard -
edge abstraction first marked in the work of Leduc and the Plasticiens, a group that was
formed in 1954 by the critic Rodolphe de Repentigny (who
painted under the pseudonym Jauran) and 3 other painters; it first exhibited in 1955.
Many of the
forms and compositions recall mid-century Minimalism, Hard -
edge painting, and modernist architecture with its utopian ideals of living.
So, as we pass through this collection of around 40 drawings and
paintings, we're supposed to look for clues and hints of the later brilliance and construct a narrative or timeline that leads to its blossoming (which, here, comes in the
form of At the
Edge of Town (1986 - 8), a
painting showing a figure emerging onto the kind of semiabstracted landscape for which Doig is best known).
Tony Delap, Modern Times III, 1966 Wood, fiberglas and lacquer, 32 x 84 x 38 inches March 7 — April 4, 2009 Pushing the
edges, often literally, of his primary disciplines, artist Tony DeLap has dedicated close to half a century to exploring the seam between sculpture and
painting, merging the boarders of architecture, design and art, reducing to the most basic expression of
form, shape, scale and color, while remaining devoted to the -LSB-...]
The curators discussed issues of material specificity and spatial concerns in contemporary
painting practices, and examined the work of cutting
edge artists whose work ignites a dialogue about sculptural and installation
forms of
painting.
Created by layering thickly
painted areas with fragments of found maps, the composition mixes mechanical reproductions with tactile brushwork to yield a central circular
form edged by both
paint and paper.
Within Provosty's acclaimed and most famous Doubleu series, she paired matte and oil
paint into closed
forms, opening the space with their reflective surfaces and tenuously squeezed outer
edges, implying multiple, open - ended associations.
Bleckner, of course, has been mining the territory mapped by tragic loss and fleeting beauty throughout his career, and his waxy new works ---- clock faces overlaid by bright floral motifs on canvas and paper ---- continue in this vein and show him in peak
form as he returns to gestural
painting from recent harder -
edged, airbrushed works.