While they had «little sympathy» for Greenberg's formalism they felt «Rosenberg had carried
the idea of Action Painting to an untenable extreme and had mis - stated how [Abstract Expressionists] actually worked.»
Not exact matches
The staff at Airbrush
Action did comprehensive photo pieces on the
paint jobs and artwork
of the cars displayed at the SEMA Show, informing their readers
of color trends and
ideas presented by exhibitors.
ArtsATL: You often talk about the «immediate present» in your work, especially with the environmental
paintings, which makes me think
of action painting in the 1950s and the contemporary
idea of focusing on the «present moment» as a stress - reducing mental exercise.
Drawing from his daily life, and using his work as a tool to deal with the experience
of existence, Auerbach has stated that
painting is «something that happens to a man working in a room, alone with his
actions, his
ideas, and perhaps his model.
Painting in the genre
of Abstract Expressionism, I feel a strong affinity for artists such as Joan Mitchell and Willem De Kooning, whose work also emphasizes
action and emotion over
ideas.
Brock constantly tests the
ideas that
action painting holds some sort
of knowledge about the creator that can be likened to theories
of graphology.
In the 1940s, abstract expressionists introduced the
idea that
painting was an
action, and the completed object was not the art, but a record
of the art.
Rosenberg's
idea of painting as «
action»,
of «becoming» through «doing», is returned to us by Johns as an activity
of undoings — undoing the myriad signs given us by the modern world or the history
of art.
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).
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.
Greenberg, who'd already gained recognition for essays on art like «Avant - Garde and Kitsch» (1939) and «Towards a Newer Laocoon» (1940), responded critically to the
idea of «
action painting.»
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.
The label
action painting codified the
idea of art as a window onto the artist's thought processes.
Minimal art rejected the
idea of relational, and subjective
painting, the complexity
of abstract expressionist surfaces, and the emotional zeitgeist and polemics present in the arena
of action painting.
By the early 1960s Minimalism emerged as an abstract movement in art (with roots in geometric abstraction via Malevich, the Bauhaus and Mondrian) which rejected the
idea of relational, and subjective
painting, the complexity
of Abstract expressionist surfaces, and the emotional zeitgeist and polemics present in the arena
of Action painting.
Among the themes explored are the establishment
of new definitions
of painting; the introduction
of movement and light as both formal and
idea - based aspects
of art; the use
of space as subject and material; the interrogation
of the relationship between nature, technology and humankind; and the production
of live
actions or demonstrations.
Having just returned from abroad and immersed himself in the New York art scene, he found himself in a cauldron
of ideas about
action, process, concept, and nothingness, navigating an artistic landscape that was being redefined through influences such as Cage's intellectual Zen advances, Rosenberg's
painting as an
action, the Janis Gallery Dada show, and the Stable Gallery exhibition
of his very own White
Paintings.
Working directly on the floor, his
action paintings were considered as documents
of time and were associated with spiritual, magical, and philosophical
ideas.
Pleasure Principle considers the
idea of pleasure as the driving force behind identity and human
actions through an accumulative site - specific sculpture,
painting and wall - drawing installation.
In addition, by lecturing at Yale and other universities and creative forums, and by staging Surrealist exhibitions with their
ideas of automatism and intuitive creativity, Breton influenced several members
of the New York School
of Abstract Expressionism - notably the gesturalist Jackson Pollock whose early works and styles (like
action -
painting) contained several important Surrealist features.
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.
By the early 1960s Minimalism had emerged as an abstract movement in art (with roots in geometric abstraction via Malevich, the Bauhaus and Mondrian) which rejected the
idea of relational, and subjective
painting, the complexity
of Abstract expressionist surfaces, and the emotional zeitgeist and polemics present in the arena
of Action painting.
1 Inspired by Ed Ruscha's photobook Royal Road Test, in which the artist documented the act
of throwing a typewriter out
of a car, Rugoff traces an alternative
idea of looking via the frozen, latent violence in the artworks
of Vija Celmins and Robert Rauschenberg, and through the
actions of Le Va (throwing pieces
of felt and ball bearings), Burden (shooting), and even Yves Klein (evidence
of performances as recorded in
painting).
Referencing the history
of painting — especially
action painting and abstract expressionism — and drawing on feminism and performance art, Black proposes an expanded
idea of sculpture as primarily an intuitive and sensory encounter with pure materiality.
Various critics have tied the appearance
of action painting to the
ideas of Jung and Freud as well as Surrealism.
When the American critic Harold Rosenberg introduces the
idea and concept
of Action Painting, he insists on the fact that such
paintings must be perceived as traces
of actions.
Among the themes explored are the establishment
of new definitions
of painting (such as the monochrome, serial structures, and fire and smoke
paintings); the introduction
of movement and light as both formal and
idea - based aspects
of art; the use
of space as subject and material; the interrogation
of the relationship between nature, technology, and humankind; and the production
of live
actions or demonstrations.
Fortunately, four
paintings survived this
action to give art - lovers an
idea of his early creative years.
Despite the aesthetic
of spontaneity that Mitchell employed in her work, she rejected the
idea that her works reflected «
action»
painting, stating, «the freedom in my work is quite controlled.
The exhibition proposes a new way
of looking at the work
of a number
of younger artists whose approach to
painting is energised by these diverse historical sources, drawing upon
action painting, drag and the
idea of the stage set.
Action painting took this a step further, using both Jung and Freud's
ideas of the subconscious as its underlying foundations.
The genesis
of this
idea for DOJ to investigate fossil fuel companies lies in the comparison between the
actions of the fossil fuel industry and the
actions of other industries known to have intentionally misled the public about the nature
of their products, including the tobacco and lead
paint industries.
And, I'm truly impressed with the whole
paint sprayer
idea... I want video
of that, not just pictures,
of you in
action.