At the same time, Johnson's frenetic approach to mark - making — with energetic lines scratched
into black wax, cracked tiles, and broad areas covered in graffiti - like spray - paint — roots the work squarely in a dystopian here and now.
Not exact matches
Draw them on your cake with
black decorator frosting, or make musical notes out of chocolate — melt chips in your microwave, pour
into a plastic or pastry bag, cut off the tip and draw notes on a sheet of
wax paper.
Next, apply the
black wax, pushing it
into the paintwork to bring out brush marks and crevices.
Black waxed jeans or leather leggings belted with a tight black tee and a leather jacket — you're instantly transformed into Sandy... the one at the end of «Grease.&r
Black waxed jeans or leather leggings belted with a tight
black tee and a leather jacket — you're instantly transformed into Sandy... the one at the end of «Grease.&r
black tee and a leather jacket — you're instantly transformed
into Sandy... the one at the end of «Grease.»
But even powerfully evocative works like Rashid Johnson's Cosmic Slop series, a tangle of deep lines carved
into black soap and
wax, were rendered mute in The Forever Now.
Longo's most recent confrontation with the contentious nature of the American flag as symbol of both nationalism and protest is a 17 - foot high
black wax surfaced sculpture that appears to collapse
into or fall through the gallery's floor.
Johnson was soon marking individual faces
into the
black soap and
wax he uses to make murky
black abstractions.
Next come the Falling Men: wall assemblages that transform Johnson's signature materials of white tile, oak floorboards, mirror shards and
black soap and
wax splatters
into upside - down stick figures who seem to fall through space.
Rashid Johnson's voluptuous
black paintings, whose thick graffitilike marks are scrawled
into a mix of
wax and
black soap with a broom handle, confront the more delicate and colorful improvisations of Michaela Eichwald, which look impressive but more decorous than usual.
Laurie Reid painted with acid directly onto a copper plate to create delicate, looping curves in «First Verse,» 2000, while Sol LeWitt made his loops and curves by drawing
into hard ground
wax with a sharp, etching needle in «Small Etching /
Black & White No. 5,» 1999.
The visual stars of the show are two large gestural
black paintings, Black Orpheus and The Berlin Conference, created by pouring a hot mixture of wax and black soap (a substance made from the ash of West African plants) into a 2 - inch - deep frame and clawing grooves into the material with a palette knife as it c
black paintings,
Black Orpheus and The Berlin Conference, created by pouring a hot mixture of wax and black soap (a substance made from the ash of West African plants) into a 2 - inch - deep frame and clawing grooves into the material with a palette knife as it c
Black Orpheus and The Berlin Conference, created by pouring a hot mixture of
wax and
black soap (a substance made from the ash of West African plants) into a 2 - inch - deep frame and clawing grooves into the material with a palette knife as it c
black soap (a substance made from the ash of West African plants)
into a 2 - inch - deep frame and clawing grooves
into the material with a palette knife as it cools.