Kayla Plosz Antiel Sunlit March 24 — April 23, 2017 Common Ground Gallery, VisArts Kayla Plosz Antiel brings her interest in «
impure abstraction» to her solo exhibition of paintings at VisArts.
Not exact matches
In turning away from
abstraction, Guston embraced the
impure world.
Impure, imperfect and incomplete, the version of
abstraction that emerges from this global journey — from Hong Kong and Islamic regions to Canada, Australia, Europe and the United States — shows how the formal ingenuity of abstract art has been cross-fertilised, from abstract expressionism onwards, by creative discrepancies that arise when disparate visual languages are brought into dialogue.
[iv] Georg Baselitz in conversation with Michael Auping, March 18, 1999, cited in Auping, «
Impure Thoughts: On Guston's
Abstraction,» in Philip Guston Retrospective, exh.
It puts you in a state of reverberation» (P. Guston quoted in M. Auping, «
Impure Thoughts: On Guston's
Abstractions», pp. 37 - 52, Auping, Philip Guston: Retrospective, exh.
Especially after Warhol refocused on painting in the late 1970s and 1980s with series like Shadows, Oxidations, and Rorschachs, he transformed pure
abstraction into an
impure product that opened up new directions.
Most of these fall in the category of what might be called
impure or aberrant
abstraction, stretching the limits of how we define an abstract painting.
Bringing to mind the coquettish collaged hands in Max Ernst's minuscule work Murdering Airplane (1920), the reference, which could be easily overlooked, adds just the quirky,
impure ambiguity that
abstraction now seems to need.