Not exact matches
A superb draftsman, he gave an in - depth intonation to an
imagery that
made of even the simplest
everyday object a lesson in refinement and sensuality.
Michael Lazarus» mixed media panels
made of paint, wood, glass, adhesive lettering, and, in some cases, plastic reflectors and other found materials, share a vocabulary of pared down
imagery, color, and response to materials culled from the artist's
everyday surroundings.
The images themselves became a form of found object — Rauschenberg used pictures clipped from newspapers, showing scenes both iconic and quotidian, and transformed them in his prints, while Johns
made everyday imagery, like the United States flag or a target, the focal point of his work.
Both artists
make reference to the
everyday world and socio - political realities: Edwards by using chain, bolts, and tools in his compressed wall sculptures, and Saul through the use of cartoon
imagery depicting public figures, food, and language.
While each Pop artist developed a distinct style, there were commonalities in their approaches to image -
making that helped define the Pop art movement in the early 1960s: the use of commercial art techniques, and the depiction of popular
imagery and
everyday objects.
His selection of
imagery, which often requires wall text and titles to properly identify (a Holocaust gas chamber, portraits of Condoleezza Rice, Albert Speer, and Mwana Kitoko),
makes him a provocateur, but it also includes the benign and banal of the
everyday (rabbits, floral patterns, pillows, table still lifes).
Using photographic images from newspapers or snapshots as a starting point, Peter Doig recasts
everyday imagery to
make imaginary landscapes and figure scenes.
A further reference is
made to the image - laden culture which drives our
everyday world, from pixels on a screen to the ubiquitous use of
imagery in advertisement to selfies, and the way in which these images are organised in our world, either physically or digitally, often forming a grid, or pattern, within which windows to other worlds and perspectives can be seen.
Collapsing any distinction between the physical process of
making the work and its visual content, these
everyday tools provided the artist with a repertoire of ready -
made imagery that avoided both spontaneous gesture and self - conscious compositional decisions.