Sentences with phrase «gesture of action paintings»

Besides being known as a New York Abstract Expressionist using the freewheeling gesture of action paintings and loose, painterly style, his work is imbued with a sensibility honed by studying Italian antiquities and the Renaissance masters.

Not exact matches

These artists are acting like industrious junior postmodernist worker bees, trying to crawl into the body of and imitate the good old days of abstraction, deploying visual signals of Suprematism, color - field painting, minimalism, post-minimalism, Italian Arte Povera, Japanese Mono - ha, process art, modified action painting, all gesturing toward guys like Polke, Richter, Warhol, Wool, Prince, Kippenberger, Albert Oehlen, Wade Guyton, Rudolf Stingel, Sergej Jensen, and Michael Krebber.

Action Painting is characterized by energetic techniques that depend on broad gestures directed by the artist's sense of control interacting with chance or random occurrences (that is why it is also called Gestural Abstraction).

Movements refers both to literal and suggested motion and change: her gestures on the canvas, the viscosity of her paint, and the way these actions combine to produce a shifting spatiality within her compositions.

In the press release for the Fort Tilden show, MoMAPS1 suggested that Grosse's ambition was to «extend the scope of her painting beyond the borders of the canvas» and declared that her installation projects «evoke the physicality of action painting and earthworks through their gestures and monumentality.»

The «gesture» in the show's title is shorthand for the term Action Painting, coined by Rosenberg to describe the calligraphic brushstrokes — and, by extension, the existential angst — of AbEx's embryonic phase in the early 1940s.

Consisting of six contemporary painters and approximately thirty works, this exhibition explores the manner in which these women appropriate both the physical, dramatic processes and the expressive freedom of direct gesture at the core of action painting, redeploying the now - historic style to boldly advance the abstract painting of our time.

This spontaneous activity was the «action» of the painter, through arm and wrist movement, painterly gestures, brushstrokes, thrown paint, splashed, stained, scumbled and dripped.

In all his works here we see the back and forth between what the eye gleans from this world of light, shadow, color, form, people, trees, skies, water and all the elements of objective reality, and what the artist asserts of his feelings, as revealed by gestures, color and movements of paint through actions that depict the artist's inner world.

Back in New York, immersed in the circle of artists known as the New York School and with Cage and Cunningham's avant - garde influence as a foil, Rauschenberg explored many of the central ideas of Abstract Expressionism, both acknowledging and transgressing the movement's emphasis on gesture, individualism, action, and direct expression through paint.

Although the use of banal objects draws inspiration from the readymades of Marcel Duchamp, the improvisatory gestures employed in applying both paint and object to Collection owe much to the generation of «action» painters to which Still and de Kooning belonged.

Though he never denounced painting, Mangold had reacted against the Abstract Expressionist or New York School that had dominated American art during the forties and fifties, particularly the action paintings of Willem de Kooning, Franz Kline and others in whose works flamboyant gesture and accident of execution were records of the intuitive activity that went into their creation.

Noland and Louis recognized almost immediately that the technique of staining -LRB-»... a way to think about and use color») was also a means of eliminating gesture and drawing, hallmarks of «action painting» which had dominated American at for a decade.

This is not because these media are historically important or intrinsically valuable, but because they are basic: simple technologies that record, often in exceptionally nuanced ways, the gestures and maneuvers of a consciousness in action (making decisions, adapting to circumstances, working through rough spots, and coming to conclusions — only to start all over again in the next painting or drawing).

(But there is also a kind of kinship with action painting, the spontaneous delight that comes from discovering the possibility of everything, the act itself, the gesture as material - motif.

Yet in the Bacchus paintings, there's an extraordinary sense of release, so you have this idea of reprise and release, which moves in a kind of temporal action through the different eras of Twombly's work, as though he returns again and again to a problem and then finds new energy in the way he releases it both in gesture and in the way he addresses each canvas.

Larson considers the gestures of moving the body long distances through the landscape and of bending to collect detritus as performative in - situ action painting.

Considered one of the greatest and most famous American painters, Jackson Pollock was a performer of sorts, an artist who dripped and smeared his paint onto the laying canvas through a series of movements and gestures, thus giving life to Action Painting.

In Throw, 2016, by Wangechi Mutu, the eruptive gesture of demonstration merges with the (violent) placement of paint on a wall, referring to the languages of action painting and performance as well as to the act of throwing used in defiant protest.

Lydia Gifford's artistic research is an enquiry of the language and possibilities of painting, of painterly thought, which are subsequently allocated and transposed by means of subtle actions, gestures, ideas and processes into a physical space.

But Kounellis» work is not about the artifice of traditional painting; rather, its strict formality is railing against the prevailing gestures, drip and daub tendencies of Abstract Expressionism and Art Informel where the action, emotion, material, touch and will of the artist is inextricably interwoven within both the medium and the form.

With the Flower Paintings, Colen relinquishes control of the painterly mark and turns the action of the brushstroke into a smashing or shattering gesture.

Perhaps he intended the work as a riff on process art, or an attempt to pun action painting's grand gesture with miniature flicks of his wrist, but ultimately, the sloppiness of the piece is annoying.

In Poons» action paintings, his gestures and energy were expressed through buckets of paint he had thrown at the canvas.

Willem de Kooning, whose whiplash lines and sweeping gestures defined «action painting» in the popular imagination nearly as much as Jackson Pollock's drips, is said to have painted in a frenzy for a rolling camera, only to scrape it all out when the filming stopped because the reality of how he worked — painting a stroke, then staring at it for a few hours — seemed too dull to film.

Fluids, fictional innards and flesh, and paint are used to enhance the painterly gesture that is transformed into a performative action: each canvas on show is the result of an action, capturing and conveying Nitsch's mystical art philosophy through extreme materiality.

Gulgee adapted action painting's energy and gesture to a Pakistani context, using virtuoso brushwork to produce large, free - flowing calligraphic abstractions that captured the mystical dance of Sufi dervishes.

Action Painting is characterized by energetic techniques that depend on broad gestures directed by the artist's sense of control interacting with chance or random occurrences.

No part of the process in an action painting is purely technical; everything is a meaningful gesture inseparable from the artist's biography, according to Rosenberg.

The content of the work is a secondary result of a self - reflexive gesture; as the artist paints, the physical action triggers the emergence of narratives that are both personal to the artist and familiar to us.

Here, the actions and gestures of painting and the use of the artist's body as medium are rendered of the utmost importance.

He is most recognized for his action paintings, with vigorous sweeping gestures inspired by improvisational jazz music, and his unorthodox use of studio objects to paint such as the paintbrush handle.

Her energetic works suggest Andy Warhol's Pop icons transformed by the gestures of Abstract Expressionism and action painting, à la Robert Rauschenberg's Erased de Kooning (1953).

Consistent with his past work, Haggerty maintains in these paintings a focus on the dynamic gesture of line that embodies not actual objects, but rather, actions or occurrences, like letters or other symbolic abstractions.