Sentences with phrase «into color field painting»

You then came to New York in 1954, at a time when Abstract Expressionism was hitting its late peak and beginning to transition into Color Field painting, Pollock was gone, and de Kooning was leaving for the Springs.

Not exact matches

Joan assessed the crowd, lighting upon the most interesting: young men turning white T - shirts into art, pinching the material tight and rubber - banding each section until they looked like porcupines being dipped into huge steaming vats of colored dyes; the young woman with a bird's nest of purple hair sitting at a potter's wheel, slamming down hunks of clay, her hands moving nearly as fast as the wheel, cups, vases, plates, bowls, trays, appearing like magic; the elderly man in a worn blue linen suit, a jaunty straw boater on his head, a smeared palette tight in his hand, painting a mammoth canvas of people on a beach staring out at an ocean where a sailboat bobbed in the distance, though he himself was standing in a mowed field; the handsome young man at an old - fashioned school desk, a manual typewriter in front of him, a stack of paper to the side.

In the winter months, this small island nation is transformed into a magical world of black lava fields blanketed in snow, waterfalls flowing amid shimmering ice, and night skies painted with the northern lights and their great cascades of color.

Curated by Paul Schimmel, the show charts Guston's progress as he played with Color Field painting, moved into grid - like abstractions, and came gradually closer to figuration, combining the visual languages of Abstract Expressionism and Minimalism.

This attention to compositional structure is what separated him from his AbEx colleagues... Opper somehow transcended the mythology of the AbEx period and almost clandestinely slipped into the more formalist designs of color field painting, while holding to a visual language that was both his own and an echo of Bonnard.»

Among a new generation of abstract painters who emerged combining color field painting with expressionism, the older generation also began infusing new elements of complex space and surface into their works.

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.

Important among them was the propensity to get very physical with paint and to take into new terrain the pours and drips of Jackson Pollock and the staining technique of Color Field painting.

There's no evidence of facture; the paint, you think, has soaked seamlessly into the linen support; these must be riffs on Color Field Painting, sans the bright colors, late iterations of stripe paintings in the mode of Kenneth Noland and Gene Davis.

Color field, curiously enough or perhaps not, became a viable way of painting at exactly the time that acrylic paint, the new plastic paint, came into being.

His large color - field canvases, made entirely with spray paint, contain hallucinogenic and elusive visions, hinting at images, which never quite come into focus.

The dye will saturate, run, and dry over the course of the exhibition — eventually turning the white felt from pale blue to almost black — transforming the material into a colossal color field painting, a rolling mountain landscape, or even the hump of a whale.

Another interesting comparison to be drawn is between the Dan Christensen painting of 1968 Serpens, and the 1969 painting of mine Eternal Circle, both paintings exhibit an expansive and high spirited use of drawing in color across huge fields sprayed into the surface by Christensen and poured thick on top of the surface in my case.

Her work — which she describes as «futurist abstract paintings in three dimensions» — playfully transforms conventional signifiers of femininity into genderless, abstract color fields.

Revisiting an idea he first employed in his late - seventies project «128 Photographs of a Painting», he divided the work's surface into two vertical sections, then halved those halves, and so on, he had each work printed to his desired scale, so that we might contemplate what have become remarkable horizontal, rhythmic fields of fine lines, oscillating with vibrations of color, the largest of which stretches over ten meters, as seen on the gallery's first floor.

But dealer George Adams was moved by the crisp lines and jarring angles of the artist's brief foray into Hard Edge, a style associated with Color Field painting and Op Art.

Color - field paintings fall into the category of art often derided with statements such as «My six - year - old could do that.»

Ten Americans sheds new light on important figures in American Abstract Expressionist and Color Field painting who adapted aspects of Klee's art and ideology into their own artistic development.

More paint was added and eventually the creases from the folds were translated into lines and patterns that move throughout the fields of color that ebb and flow throughout the massive canvas sheet.

David Novros painted just as abstraction and Minimalism were converging into color - field painting, and he pursued its rigor with a vengeance.

In his installations, he has created silver Celotex walls that invite museum - goers to become vandals, and transformed shag carpets into grand echoes of Color Field paintings.

Though primarily functioning as Warhol's investigations of the history of Abstract Expressionism and Color Field Painting, they remain as integrated into popular culture as never before.

While Newman's work reeled viewers into a color field, Swavely's paintings resist close inspection, for as one approaches, the brushstrokes that once felt voluminous fall flat, having been washed away by turpentine - soaked rags scrubbed across canvas heavy with oil.

Moyer fuses painted canvas and reclaimed fragments of granite, marble, and limestone — stones used in capacities ranging from classical sculpture to kitchen design — into color field abstractions that address ideas of labor, luxury, and beauty.

Abstract Expressionism can be divided into two tendencies: Action painting, which included Jackson Pollock, Willem de Kooning, Mark Tobey, Lee Krasner, Joan Mitchell and Grace Hartigan, among many, many others; and Color Field Painting, which included such artists as Mark Rothko, Helen Frankenthaler, Jules Olitski, Kenneth Noland and Adolph Gpainting, which included Jackson Pollock, Willem de Kooning, Mark Tobey, Lee Krasner, Joan Mitchell and Grace Hartigan, among many, many others; and Color Field Painting, which included such artists as Mark Rothko, Helen Frankenthaler, Jules Olitski, Kenneth Noland and Adolph GPainting, which included such artists as Mark Rothko, Helen Frankenthaler, Jules Olitski, Kenneth Noland and Adolph Gottlieb.

New York - based artist Keltie Ferris covers her mostly large - scale canvases with layers of spray paint and hand - painted geometric fields, creating the effect of brightly colored digital screens dissolving into pixels.

He soon moved away to champion a new group of artists who were emerging in the nation's capital, the Washington Color Field painters — a group including Kenneth Noland, Helen Frankenthaler, and Morris Louis who achieved what the critic considered highly admirable flatness by pouring thin paint directly into the weave of their canvases.

Historically, AbEx has been broken into two tendencies: Gestural Abstraction (or Action Painting), which emphasized the energy of the painter's mark, and Color Field Painting, which focused on the creation of vast, seemingly floating areas of cColor Field Painting, which focused on the creation of vast, seemingly floating areas of colorcolor.

While his contemporaries during the 1950s were focused on Abstract Expressionism and Color Field painting, Wolf Kahn chose to embrace the figure and incorporate representational imagery into his work.

Breaking into different branches, including feminism art and innovations in land art, color field painting was replaced by minimalist art.

Inspired by European modernism and closely related to Abstract Expressionism, Color Field painting is a style of abstract painting characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture pColor Field painting is a style of abstract painting characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture pcolor spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane.

So, this is in a way almost like transitional painting — a bridge painting between his very gestural 50's Abstract Expressionist work and his later color field work, which he moved into in the 70's and 80's.

In this painting, the colors and textures in a field of wild grasses are transformed into new shapes and brushstrokes, which subsequently undergo experimental development, taking on new visual meaning, in what then becomes the painting.

Rauschenberg combine paintings, Rothko color - fields and Baldessari text paintings are all parroted and strung together into one joke that is not only laughing at the unfortunate protagonist of its internal riddle, but also at the past fifty years of artistic production.

A monumental monochromatic field of subdued color fulfills the role of straight - man to Prince's comic texts, sometimes presented plain and direct, sometime articulated in ghostly printed letters that seem to wax and wane in intensity across the canvas, and in the case of Untitled (Check Painting) # 13, text that has a material quality — painted over literal paper checks embedded into the canvas surface.

His early work features broad, calm rectangles in the manner of the American Color Field painters, but Hoyland's distinctive contribution has been to break with the modernist insistence on a flat surface and to put perspective back into abstract painting: his mature work is characterised by depth and texture, in which strange objects float in the foreground or middle distance, against an often mysterious background, in a way that is oddly reminiscent of Miro.

The work I'm doing now is me backing out of pure abstraction and color field painting into something more figurative.

Mr. Motherwell's other major painting series was known as the «Opens,» whose characteristic imagery is that of a drawn rectangle or rectangles, suggesting windows and doorways cut into a field of subtly nuanced color.

Together they visited the studio of Giacomo Balla, where they were introduced to the technique of Divisionism, painting with adjacent rather than mixed colors and breaking the painted surface into a field of stippled dots and stripes.

The path forward in art - historical terms was split between those artistic movements more aligned with deeper investigations into the increasingly essential properties of a particular medium or reductive practices (e.g., Abstract Expressionism, Color Field painting, Minimalism) and those movements that actively sought an expansion of the arts into a plurality of new forms, hybrid media, and interactive experience (e.g., expanded cinema, intermedia, installation art, performance).13 Of these choices, hippie modernism would follow the latter course through experiments that drew upon the theatrical qualities and the participatory actions of the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic art.

In the 1970s, decades after Color Field painting first splashed into consciousness, the MFA devoted an exhibition to it.

Among the dominant trends in the Post-Painterly Abstraction are Hard - Edged Painters such as Ellsworth Kelly and Frank Stella who explored relationships between tightly ruled shapes and edges, in Stella's case, between the shapes depicted on the surface and the literal shape of the support and Color - Field Painters such as Helen Frankenthaler and Morris Louis, who stained first Magna then water - based acrylic paints into unprimed canvas, exploring tactile and optical aspects of large, vivid fields of pure, open cColor - Field Painters such as Helen Frankenthaler and Morris Louis, who stained first Magna then water - based acrylic paints into unprimed canvas, exploring tactile and optical aspects of large, vivid fields of pure, open colorcolor.

This shift broke into movements of minimalism, color field painting and op art, which began to reference each other.

His pop art style paintings use white backgrounds to accentuate unusual drip patterns, overlapping color fields, and hidden objects painted into the three - dimensional frames.

Ranging from thick paint to airbrush, from Color Field abstraction to a joking (possibly Hairy Who) representation, she forces everything into carefully orchestrated collisions, taking considerable joy in celebrating her medium's potential for visual artifice.

Lauren Cornell: All of your works bring figures to life: be they busts dissolving into vibrant color fields, as in your paintings, Sascha; or a couple in the throes of a wild embrace in yours, Avery.

As with Noland's earlier work, he continued to apply color as a physical material substance, but unlike his earlier hard edged paintings which rely on fields of dense color, for Into the Cool he used color through subtle tone and transparency.

The parallel to Op art comes in the shimmering quality that some of the paintings attain by the alternation of colored lines, or the mass of cross-hatching coalescing from a distance into a luminous field.

Deployed across his makeshift, undifferentiated images as though to bring the roughly painted surfaces into sharper focus, these scrims seem informed by the color studies of Josef Albers, who investigated basic conditions of visibility by juxtaposing carefully calibrated fields of color.

Though he maintained his freedom, experimenting with other movements such as Expressionism and Color Field painting and never truly becoming a member of the Surrealist group, Miró was among the first to incorporate automatic drawing into his practice.