Sentences with phrase «monochrome field paintings»

But just as important, Houshiary has produced convincing monochrome field paintings that refine and intensify «post-painterly abstraction» to uncanny new perceptual effect.

Not exact matches

Her work is easy to consider in art historical terms as we see direct parallels between the amorphous monochromes of the more atmospheric photograms and Helen Frankenthaler's color field paintings.

It presents color - driven work in the form of monochrome, hard - edge and color field painting, sculpture and immersive installations.

The series, which Marden began painting in 1973, inspired by his trip to Greece, has been hailed by many, including Roberta Smith, for whom its «seemingly flat monochrome fields were constantly flipping open, yielding suggestions of light and space and moody atmosphere.»

His monochrome aluminum sculptures reflect an aesthetic similar to his paintings, and he continued to experiment with color fields and abstraction long after the style fell out of vogue.

The strongest presence in the remainder of the show is Larry Poons, whose three paintings (from 1963, ’69 and» 72) outline his progress from optical dots on monochrome fields to torrential pours of paint that tosses stain - painting delicacy to the winds and parodying both Pollock's and Ms. Frankenthaler's finesse.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

At the same time, they break with the purity requirements of colour field painting and monochrome painting.

Fujimura's Water Flames series approaches monochrome, the painted traces rising against fields of identical color as if under their own power.

Thus, we could see in Stamos's paintings of the 1960s — with their expanses of near - monochrome pigment and spare deployment of geometric shapes — an affinity with color - field canvases by Jules Olitski, Helen Frankenthaler, and other painters championed by the formalist critic Clement Greenberg.

Monochrome or near monochrome fields might be interrupted by blocks of colour; geometric volumes softened by streaks or strokes of paint — applied with a brush or sometimes the artisMonochrome or near monochrome fields might be interrupted by blocks of colour; geometric volumes softened by streaks or strokes of paint — applied with a brush or sometimes the artismonochrome fields might be interrupted by blocks of colour; geometric volumes softened by streaks or strokes of paint — applied with a brush or sometimes the artist's hands.

Hard - edge painting, geometric abstraction, appropriation, hyperrealism, photorealism, expressionism, minimalism, lyrical abstraction, pop art, op art, abstract expressionism, color field painting, monochrome painting, neo-expressionism, collage, intermedia painting, assemblage painting, digital painting, postmodern painting, Neo-Dada painting, shaped canvas painting, environmental mural painting, traditional figure painting, landscape painting, portrait painting, are a few continuing and current directions in painting at the beginning of the 21st century.

Completed in a single session, each is a flatly painted monochrome field that abounds with imagery including eyes, faces in profile and other more indeterminate forms, often in pulsating combinations of colour.

Digital art, hard - edge painting, geometric abstraction, minimalism, lyrical abstraction, op art, abstract expressionism, color field painting, monochrome painting, assemblage, neo-Dada, shaped canvas painting, are a few directions relating to abstraction in the second half of the 20th century.

Sometimes, as in the claggy monochrome scarlet expanses that comprise Red Painting, Bird, Lemur and Elephant (2016) this is directly slathered on with the artist's hands — a massive Color Field finger - pPainting, Bird, Lemur and Elephant (2016) this is directly slathered on with the artist's hands — a massive Color Field finger - paintingpainting.

Momentarily abandoning the stupefying rhetoric of immediacy that characterized his earlier photographic appropriations, he is now reinscribing his work in the well - lit field of modern paradigms: by referencing the monochrome as he did in his previous «joke» paintings, by reintroducing collage and silk - screen superimpositions, and above all by coating some of his appropriations with a thin layer of white paint that is simultaneously on top of and underneath the imagery.

His paintings exhibit various influences, from color field and monochrome painting to biomorphic abstractions.

Like his American counterparts, Law's canvases strip back painting to monochrome stripes, blocky shapes and colour fields.

In her most recent work Lou has created monochrome woven canvases, which reference Color Field painting and Minimalism, while focusing on the beauty and humanity revealed in the simple repetitive processes made by the human hand.

The lithograph print poster features and untitled monochrome brown color field painting created in 1962.

For the fifteen mud - brown monochromes in this show, each titled «Debris Field,» the young New York artist created low - relief molds based on photographs of detritus found in his studio (wood, dirt, etc.), filled them with acrylic paint, and attached the hardened results to canvas.

In the later 1980s and «90s, his paintings became increasingly monochrome fields scrawled with gestural scribbles.

Each is a flatly painted monochrome field that abounds with imagery including eyes, faces in profile, and other more indeterminate forms, often in pulsating combinations of colour.

Or they make paintings that look like edgy hard - core abstraction, deploying fields of black or monochrome paint; Polke, Richter, or Oehlen — like effects; splashes; all - over composition; switching styles willy - nilly within works.

A prime example of young artists taking this approach is Cindy Hinant, whose row of dark photographic prints recalls the monochrome color field paintings of Ryman or Wally Hedrick.

Drawing from three series of the artist's oeuvre, Black and Gray, Rome, and the New York series NY, this selected group of large - scale paintings aims to document Charles Pollock's transition from relatively monochrome abstractions to explorations related to Color - Field painting.

One way viewers might see them as such would be to compare them to the color field paintings of Mark Rothko, or to the monochromes of Yves Klein, interacting with them as aesthetic mediums assisting us toward a personal transcendent experience.

Her new series of monochromes is composed of large squares of coloured fabric, loosely slung on the wall to suggest both a drawn drape and modernist abstraction, like Barnett Newman's colour - field paintings or Rothko's textured plains of pigment in which you might unearth the sublime or the expression of spiritual angst.

His practice was wide ranging and experimental, including monochrome, blue paintings that features his own branded «International Klein Blue» or IKB, a satirical take on the colour fields by Abstract Expressionists.

Color fields abound, as do works in light, gestural paintings, monochromes and a celebratory assortment of contemporary crossover expressions that beautifully defy simple categorization.