He began building his works so that they would project off the wall, combining
illusionistic painted space with real space.
Not exact matches
There is a well - worn narrative of twentieth century
painting that goes like this: From Cezanne to Picasso to Pollock, the
illusionistic space of
painting flattened more and more until the picture plane and the surface created by the
paint itself became the primary subject matter, eliminating images altogether in favor of abstraction.
Exploring how to force
illusionistic space out of
painting, Stella created the seminal Black
Paintings, credited by some as reinventing Modernism and establishing the basis for Minimalism.
In her compositions Jebavy often includes glassware forms that call to mind other Baroque artworks, such as Bernini's expansive Baldachin in St. Peter's Cathedral, or
illusionistic Italian ceiling
paintings and cathedrals, building altar - like architectural
spaces that are at once intimate, domestic, and banal, and monumental, metaphysical, and transcendental.
This exhibition consists of
illusionistic compositions — rendered somewhere between meticulous staging techniques, analog processes and digital alterations — manipulate perceptions of
space and reality to create photographs that appear as abstract
paintings.
Other
paintings here by Chambers feature less of an
illusionistic space.
On view in PC — G's Reilly Gallery, this group exhibition consists of
illusionistic compositions — rendered somewhere between meticulous staging techniques, analog processes and digital alterations — manipulate perceptions of
space and reality to create photographs that appear as abstract
paintings.
Inasmuch as actual physical parts form shapes and surfaces to be
painted, Stella's rich
illusionistic mix has pushed composition outward from the wall, while retaining the idea of pictorialism in the use of pattern and gesture to create an anomalous fictive
space on any given surface.
These renderings are then executed in acrylic
paint and overlaid with enlarged drawings
painted with a vinyl
paint that alternately reinforces the
illusionistic space of the
painting and calls to attention the physical reality of the
paintings» two - dimensional linen support.
Though Stella, like Richard Serra, is not shy of scale, the overarching issue here is not the presence of focused materiality but the potential for material to form an open - ended Baroque extension, the consequence being that an
illusionistic painting now exists in real
space.
These two approaches articulated very early on in its history this kind of work's almost paradoxical dynamic: that one can read a monochrome either as a flat surface (material entity or «
painting as object») which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in
painting (i.e. Rodchenko); or as a depiction of multidimensional (infinite)
space, a fulfillment of
illusionistic painting, representing a new evolution — a new beginning — in Western
painting's history (Malevich).
A pioneer in
painting, Murray's distinctively shaped canvases break with the art - historical tradition of
illusionistic space in two - dimensions.
Maine's use of carefully chosen pre-existing materials deployed in the «real»
space found just in front of the supporting wall sculpturally counters the
illusionistic tendencies of
painting while clearly echoing painterly concerns with color and structural relationships.
The juxtaposition of disparate images with graphic renderings in an ambiguous,
illusionistic space in Burns to Breathe (Got ta Have a Better Attitude)(2014, 40 x 38.5 inches) recalls the «inscapes» of Surrealist painter Roberto Sebastián Matta, who combined unexpected imagery with unconventional
painting techniques to create fantastic landscapes intended as landscapes of the mind.
A series of lithographs, like Pet Stains, 1990, hark back to Synthetic Cubism: puddles of black
paint mark a stack of trompe l'oeil newspapers so as to create a tension between flat representation and
illusionistic space.
Here a dynamic structure is achieved through the juxtaposition of a large monochromatic star motif
painted directly on the wall against a backdrop of loose, free flowing technique on papersheets rearranged by the artist to engage the viewer into the depths of
illusionistic space.
His 1964 essay «Specific Objects» is considered a manifesto for Minimalist sculpture, advocating artists whose works inhabited the actual
space of the viewer rather than the
illusionistic space of traditional
painting and sculpture.
He enclosed vast panoramas in abstract lines of color that created an oscillation between pure
painting at the edges and moments of
illusionistic space at the center of the work.
Painting with airbrushed acrylic on nylon mesh or Mylar has the effect of layering illusionistic space on top of the painting's actual, materia
Painting with airbrushed acrylic on nylon mesh or Mylar has the effect of layering
illusionistic space on top of the
painting's actual, materia
painting's actual, material
space.
Geometric symmetry was helpful to him because, as he put it, it «forces
illusionistic space out of the
painting at constant intervals by using a regulated pattern.»
«By the 1970s, thanks largely to formalist critics like Clement Greenberg and Donald Judd,
painting had been flattened and emptied of figures, subject matter and
illusionistic space....
In New York, the smaller Parisian formats were quickly associated with fussy
illusionistic spaces, and in an eagerness not to miss the train of Greenberg's seductive theories, too many American painters fell for his Kantian logic of progress in art and the eventual critical endgame of the death of
painting that followed.
As New York painters were progressively rejecting
illusionistic space and moving toward a more literal
space and bigger formats — which would logically lead a few years later to Donald Judd's rejection of
painting in favor of sculptural
space — the concept of le tableau continued to provide a conceptual framework to painters within the French idiom that would allow
painting to evolve without losing the basic elements of its identity.
Using the language of abstract
painting and the modernist grid, the pieces reflect into an
illusionistic space without fully relinquishing their sense of physicality.
In my current
paintings, I have reintroduced the idea of
illusionistic space in a way that stays true to the abstract forms that I have been experimenting with for the past 5 years.
As in the best Hodgkin
paintings, a tension arises from the precarious balance of
illusionistic space and the purely abstract, tactile richness of the surface.
Tracing the archaeology of the
paintings in the sculptural formations that accrue on their edges creates a dynamic contrast between the
illusionistic interior
spaces opened up within the compositions and the frank materiality of the gesso boards as objects hanging on the wall.
All the devices in Stella's new
paintings are geared to make picture
space feel as if it bites into real
space, without using
illusionistic depth.
Richter began
painting on photographs in 1989 as a way of joining seemingly opposing values: the tactile
paint mark that is actually abstract and the
illusionistic depiction of real
space created by the action of light on film.
Working like the Roman god, Vulcan, forging calderas and caverns with deep, rock - like chasms of
paint, Berg's
illusionistic space offers no horizon, only an ever - changing, tumultuous world where time and
space are uncertain.
Press release excerpt:» This exhibition showcases seven contemporary artists who use
paint to create both an object and an
illusionistic space.
This has sort of changed the perspective direction of a lot of post-analog
painting, because whereas before, figurative
painting functioned as a «window,» a recessive
space with the illusion of depth, now there is a push towards
illusionistic projection and forward movement.
In Paris he became a confirmed abstractionist; in his work
illusionistic space in figurative
paintings yielded to uptilted planes and increasingly to a Cubist fracturing of the picture plane.
In
paintings such as Architectural Variation of 1949, Bolotowsky exorcised all suggestions of
illusionistic space.
Painting also proposes a fictive,
illusionistic space that I employ to bump up against more literal experience of things in the world.
This ruse became the perfect rabbit hole into the
illusionistic pictorial
space of my tulle veil
painting.
These works often demonstrated her keen interest in how
paintings function in a given room and used
illusionistic techniques to extend the plane of a wall or floor directly into the
space of her pictures.
With these
paintings, I am finding ways to make the
painting sculptural, to introduce
space, but I don't want to do that with
illusionistic depth.
How do you keep the
painted relationships in an abstract
painting JUST spatial / pictorial — neither depictive, descriptive, suggestive of
illusionistic, figurative, atmospheric
space; nor literal, one layer on top of another (even though they are), or flatly adjacent?
Her
paintings and drawings suggest visual landscapes without necessarily depicting an
illusionistic space.
Both the gestural and literal carvings cut up the
painting and further adds to the tension between
illusionistic space and the reality of the
paintings» physical surface.