Sentences with phrase «flatbed picture plane»

Leo Steinberg's «flatbed picture plane» comes to mind.

His inventive use of discarded materials and appropriated images eviscerated distinctions between medium and genre, abstraction and representation, while his «flatbed picture plane,» which absorbed found objects into the realm of paintings, forever changed the relationship between artwork and viewer.

This effect - one that brings to mind Leo Steinberg's characterization of the flatbed picture plane as «a receptor surface

In a section of the essay subtitled «The Flatbed Picture Plane,» Steinberg describes the phenomenon, well underway by «68, in which paintings «no longer simulate vertical fields, but opaque flatbed horizontals [that] no more depend on a head - to - toe correspondence with human posture than a newspaper does»:

But the work goes beyond personal history, with the pink fabric conjuring up associations such as the smoldering coals in Francisco Goya's «The Forge» (c.1815 - 1820) and the motif of an unswept floor, known as an asaroton, found in Roman mosaics, a historical parallel that returns the piece to Steinberg's description of the flatbed picture plane:

Ms. Apfelbaum, whose project carries the tantalizing title «Rome and the Flatbed Picture Plane,» now has a great two - part show on view at D'Amelio Gallery and the Hansel and Gretel Picture Garden.

(As others have noted, what Leo Steinberg called the flatbed picture plane — artwork as matrix of information, receptacle of data, vector in transmission — anticipated the computer desktop's mode of address.)

In it, Steinberg declared that by inventing what he dubbed the «flatbed picture plane,» Rauschenberg derived a «pictorial surface that let the world in again» — a bold and profound claim from an art historian who had upon their emergence in the 1950s loudly decried the Combines.2 Implicitly contrasting Rauschenberg's achievement with the conventions of Abstract Expressionism and Color Field painting, Steinberg claims for Rauschenberg not simply a great formal advancement, but one that forced a shift in the discourse of visual art to include once more the social world.

Although Steinberg, for polemical reasons, strongly advanced the notion of the flatbed picture plane, he nonetheless also stressed the need for a high level of attentive observation throughout his able defense of the complexities of Old Master painters against Clement Greenberg's reductive oversimplifications.

For Steinberg, the flatbed picture plane paradoxically represents a space where the artist transcends his earthly yoke and creates a more fully collective cultural place devout of figure, landscape, and detestable affect — in short, a space more fully reflecting the truth.

As a student in 1949 at the Art Students League of New York, for example, he laid paper on the floor of the building's entrance to capture the footprints of those entering and exiting.10 The creation of receptive surfaces on which to record, collect, or index the direct imprint of elements from the real world is especially central to the artist's pre-1955 works.11 Leo Steinberg's celebrated 1972 article «Reflections on the State of Criticism» isolated this particular approach to surface as collection point as the singular contribution of Rauschenberg's works of the early 1950s, one which galvanized a new position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue of a visual experience of nature but of operational processes.»

I am reminded of some of those old black & white surrealist films but can't quite recall a specific one, and action painting, abstract expressionism, neo Dada, are all in here too, as are art - historical / art critical ideas of constructivism, all overness, and Leo Steinberg's «flatbed picture plane», in other words modernism, post modernism, and I want to say post-post modernism (Metamodernism even).

Not exact matches

Yet Leo Steinberg's term for the picture plane in Johns and Rauschenberg, the flatbed, applies quite well to Stella's or Kelly's early work.

Having energized and freed the wall - hung painting so that it dispatched electric fans and stuffed birds into the gallery's airspace, Rauschenberg now flipped the picture plane to become a horizontal, flatbed platform for sculptural invention and gleaning.

Since Salle's first solo museum show at the Museum Boijmans Van Beuningen in Rotterdam in 1983, he has continued to develop his «flatbed» picture plane vernacular through multiple series including the Tapestry Paintings (1989 — 91), Ballet Paintings (1992 — 93), Early Product Paintings (1993), Vortex Paintings (2004 — 2005), and Battles / Allegories (2009 — 2010).

Leo Steinberg uses the term postmodernism in 1969 to describe Rauschenberg's «flatbed» picture plane, containing a range of cultural images and artifacts that had not been compatible with the pictorial field of premodernist and modernist painting.