This kind of abstract painting was around, and it was mostly expressionistic work — I don't know if anybody really noticed that.
Something about aluminum as a painting surface is suited to
the kind of abstract painting Solomon does: energetic, hastily applied brushwork that is thick in some places and as thin as a wash in others.
I realised that
the kind of abstract paintings I had been making were very much linked to landscape and to a sense of place.
Not exact matches
Consider the most visible trend in recent years
of Zombie Formalism, a
kind of reductive, easily produced
abstract painting, sold quickly to collectors queued up on waiting lists and hungry for innocuous, decorative works in a signature style, so much so that the name
of the artist himself becomes the brand.
The contributions
of African American artists to the inventions
of abstract painting have historically been overlooked, or else fraught with the
kind of questions faced by Jones.
Do people feel alienated by certain
kinds of art, like
abstract or minimal
painting?
And that's the one thing that's always missing for me in
abstract painting, that I don't have this
kind of dialogue between something that can be, elements that can be wildly different and can be at war, in, or in extreme conflict.
And if this
kind of quotidian encounter was part
of modernism's initial dream, we should remember that for a long time,
abstract painting in particular has confined itself to much tinier spaces and more exclusive demographics.
In
abstract painting one can't deal with a
kind of entity, entity like an object or person, a concentration
of psychology which a person is as opposed to what, where the figure isn't in the
painting.
So a
kind of hierarchy
of importance as to the various elements
of a picture, that's something that I've struggled to somehow bring into
abstract painting.
In her recent show with the Beijing satellite gallery
of New York's Chambers Fine Art, she has concentrated on what she calls landscape
paintings, which don't present landscapes so much as a
kind of floating
abstract world reminiscent
of the work
of the Chilean modernist, Roberto Matta, in their atmospheric effect.
There's a
kind of large
of embrace
of land, space, ideas in
abstract painting that's thrilling and satisfying, but in some ways a lack
of specificity.
And I was continually thinking back to the
abstract painting, and those years, and it seemed to me that things just flowed so freely, and it was
kind of invention and — what's the word I want?
Peter Plagens — who is concerned with his own
kind of beauty, which he terms «existential» — will show
abstract paintings and collages.
The pieces span various different media, from Feeley's undulating
abstract painting to Philipsz's famous sound work — the first
of its
kind to enter the collection.
Well known and admired for her internet - era busts
of figures seeming to emerge from
abstract matrices, Sascha Braunig has recently evolved to
paint full portraits as well as these
kinds of truncated figurative studies, which create an alluring and elegant sense
of mystery.
Along the back wall is a fivesome
of the more
abstract kind of paintings Mr. Oehlen took up in 1988: soupy brown - gray blurs reminiscent
of de Kooning, and embellished with sharper, brighter forms, as if the brooding artist had suddenly cheered up in the work's final stages.
Smith explored the objecthood
of painting, but rather than merely reiterating a deadening literalism or an empty formalism symptomatic
of the 70's, he found a peculiar new
kind of lyricism that still might have ramifications for the future
of abstract painting.
Flush with an emerging confidence in their medium, photographers such as Harry Callahan and Aaron Siskind, wrote Hilton, found ways to turn the lens on these complexities: «The
kind of campaign that was once waged, and waged successfully, for
abstract painting is now being waged for «
abstract» photography.»
Adian's bulked - up, shaped and
painted canvases are simple
abstract forms that look something like the vinyl upholstery once found in cheap bars — a perverse
kind of artistic reverse engineering.
During this time, Serrano also worked on the series Bodily Fluids where he employed various fluids in order to create works that referred to
abstract painting, a
kind of anti-photography.
Her
abstract paintings steer her message away from literal narrative toward a
kind of colorful atmospheric poetry.
Like a lot
of people, my fantasy when I was younger was to be the
kind of painter that that made big
abstract paintings.
There is a still - prevalent trend in
painting to discuss
abstract and minimalist composition as accomplished through a series
of logical moves — the development
of formulas and blueprints more associated with «design» than any
kind of affective reaction.
Timothy Taylor Gallery, London until 12 July 2014 Jazz and blues have always exerted an influence on the
abstract paintings of Sean Scully RA, but he has perhaps never acknowledged its influence as clearly as his new remarkable quintych at Timothy Taylor — A
Kind of Red (2013), comprised
of five large - scale oil - on aluminium panels, in response to Miles Davis's modal classic A
Kind of Blue.
There have been persistent murmurs in the art world about the imminent (market) demise
of the so - called Zombie Formalism movement, a
kind of colorful, undemanding type
of abstract painting that's commanded astronomical prices for the past few years.
Chapter 1: Things Must be Pulverized:
Abstract Expressionism Charts the move from figurative to
abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting as the dominant style
of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded
Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting: Informel in Europe and Beyond Meanwhile in Europe:
abstract painters immediate responses to the horrors
of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative
Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development
of a rational, universal language
of art - the opposite
of the highly emotional Informel or
Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-
Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting Part 1: After Pollock In the aftermath
of Pollock's death: the early days
of Pop, Minimalism and Conceptual
painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How
painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting survives against growth
of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation
of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-
Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting Part II: After Pop A new era in which figurative and
abstract exist side by side rather than polar opposites plus
painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use
paint to create a new
kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans
Holyhead's practice is
abstract painting and the presentation
of his watercolour drawings in this show provides a
kind of language through which he explores what seem to be compositional and colour strategies for the larger works on canvas.
Miller directs light, funnels it, and introduces liquids and filters to make what look like ethereal
abstract paintings with some
kind of nearly supernatural glow at their core.
«I specialize in one
of a
kind contemporary
abstract art created by using acrylic
paint and a glass - like pigmented epoxy resin,» Bilotta wrote.
I think that keeps it from falling into an illustrative
kind of place, it was basically a purely
abstract painting first.
Hanging ceiling to floor at the gallery's center, three immense
abstract paintings formed a
kind of altarpiece
of amorphous pours and splashes.
They are
kind of abstract, even though there is usually still the idea
of a table, or a base with things on it — which is something that was there in some
of my furniture in the 1980s, and is in the still - lifes, and continues in the
abstract paintings that I am working on now.
In their work we see a sustained interest in the advancement
of abstract painting, responses to the landscape connected to environmental issues, a continued engagement with surrealism and the development
of a new
kind of non-specific representational narrative
painting.
Pocaro writes that «is a stinging riposte to the
kind of contemporary
abstract painting that merely serves as «a placeholder for value» and «needs to get out
of the way.»
Bingham writes: «The
abstract paintings in the Anderson Auditorium, all untitled, are ultimately nothing if not self - portraits,
of a
kind.
And the whole
abstract expressionist movement — the title even is so bread and it takes in so many different
kinds of paintings that it's almost impossible to even think
of it without beginning to speak
of certain artists.
I believe that it is true, however I would look at it from a different standpoint from Canaday and as a matter
of fact that had been noted, the observation that 10th Street lacked a vitality had been noted several years before, you know, by a great number
of people, including Clem Greenberg, I think in print he even coined the term Tenth Street
Painting as a deneogatory term which would be that it was
kind of old hat, because Clem Greenberg's stand
of course is that
abstract expressionism really lost it's pertinence after the early fifties.
By the end, by say»57 and»58 there were lots
of exhibitions
of second - rate
abstract painting of which your gallery had perhaps fewer, shall we say,
of this
kind of fashionable I know fashionable's a bad word.
For whatever reason there are many artists right now who are really good at making
abstract works
of various
kinds, whether pure
painting or the materials explorations seen here.
«My work is
abstract and expressive, which means that I don't use sketches or other
kinds of preparatory work before starting on a
painting.
Moon's Nahan's Forty Winks, a lithographic musing on Korean American dual - consciousness, offers the
kind of rich cultural treading and social relevance that make
abstracted works in the exhibit, such as Willem de Kooning's lithograph or Ellsworth Kelly's signature geometric shapes, seem like empty reproductions compared to their much more triumphant works in
painting.
Both a fan and a critic
of all - over
painting, Kelley spoke
of how he «liked the goopy, slightly disgusting surfaces
of Abstract Expressionism and I thought such surfaces could be used to great advantage in combination with various
kinds of more loaded images, images that didn't lend themselves so easily to
abstract equivalency» (Quoted in José Lebrero Stals, (ed.)
Because Kline sketched and
painted this photograph so many times, he acquired such a familiarity with it that he could apparently sketch it blindfolded in less than thirty seconds.39 This skill necessarily involved what Kline had described in 1956 as the process that had led to his breakthrough to abstraction: «breaking down the structure into essential elements».40 In the photograph, the posture
of Nijinsky in absolute terms and relative to the frame has a striking structure
of a
kind that persists in Kline's
abstract work, in which there is a tension between the composition internal to the
painting and the limits
of the canvas.
So now that she's made her supposedly
abstract painting kind of «accessible» and full
of heavy - handed imagery, you get clever sods like Andrew Marr sounding off about how she's «England's answer to Jackson Pollock».
It's the most
abstract of all art expression» The
paintings by Hugonin and Martin share many qualities: they operate with a
kind of interior musicality and balance their apparent precision and control with a fragility that suggests a very human touch.
Some Americans art historians believed that your work possessed a
kind of symbolic and emotional content that reflected the experience
of the war more accurately than other painters and, in a way, different form the
paintings of the
abstract expressionists.
The Other nominees for the inaugural year included sculptor Richard Deacon, the collaborative duo Gilbert & George,
abstract painter Howard Hodgkin and sculpture and installation artist Richard Long — but unlike his fellow nominees Morley just did not fit into any one particular genealogy; with his connection to Photorealism, or Super-realism — as he named it — later being discarded by the artist in favour
of a more expressive method
of painting — that critics deemed a
kind of Neo-expressionism.
I have always liked his barbershop
paintings, and the way he uses the paraphernalia
of bottles and products, the mirrors and posters and illustrations
of haircuts on the walls as a
kind of abstraction — they make you think
of abstract expressionist Hans Hofman's push - and - pull rectangles
of dancing colour, and also at times
of Dutch painter René Daniëls» plays between figuration and abstraction.
One piece titled Cultural Department (2006) appears to be some
kind of Jackson Pollock
abstract expressionist
painting until it is recognised as a meticulous reproduction
of Israeli soldiers» vandalism
of the Palestinian Cultural Department in 2002.