Not exact matches
Gottlieb, for instance, tells Goodnough that painting is «
not only a matter of colors and
shapes on
canvas, but images made visible and integrated» (p. 58) while Baziotes gives a contradictory statement, remarking that «reference to existing objects is
not particularly helpful in contemporary painting.»
It isn't true, as has been alleged, that Kelly invented the
shaped canvas.
(No,
shaped canvases aren't rare, but they are unconventional.)
I had
not recognized the light that Dorothea Rockburne can bring to
shaped canvas.
This is
not, however, to say that there is no visible progression in Poliakoff's work, for the series of four
canvases on the main wall, each titled Composition abstraite (1968) and each linked by a recurring claw - like
shape, are undoubtedly the most accomplished of the show.
Kelly's
shaped canvases would
not survive such a stringent test; they are dependent on the spaces where they are displayed.
With its placement in chevrons, circles, stripes and
shaped canvas motifs that Mr. Noland favors, it has no truck with symbolism or storytelling, and certainly
not with a message of any kind.
However they use a wider range of colors, and are his first works using
shaped canvases (
canvases in a
shape other than the traditional rectangle or square), often being in L,
N, U or T -
shapes.
Their art does
not need
shaped canvas to reshape the rectangle.
The older
canvases on view were specifically by the Washington Color School artists, now remembered mostly for their dyed -
canvas technique and status as an armament in Clement Greenberg's about - face on Abstract Expressionism, and included revelatory
shaped paintings by Kenneth Noland, an almost -
not - there Helen Frankenthaler, and this megawatt Jules Olitski.
Katharina Grosse applies it to
canvas and aluminum with a spray gun, where scale and electric hues supply an energy that the arbitrary
shapes and drips may
not.
I keep coming back to that hybrid,
not solely with
shaped canvas and its heirs.
No one is going to match the rigor, energy, and humor of Frank Stella and Elizabeth Murray with actual
shaped canvas, and that does
not count the sheer feat of its construction.
For a take on
shaped canvas, although a
canvas shaped not by a stretcher, but by bare hands and its own weight, one might turn instead to Al Loving.
Vicente's palette lightened in the»50s and»60s, with
canvases like «
N» from 1959, which includes passages of electric green, orange and yellow, or «Princeton No. 5» from 1966, with its vaguely biomorphic collagelike
shapes vibrating in a bright field.
Artie Vierkant works with
shaped canvas, except that it is
not shaped and
not canvas.
«A single facet or
canvas may have its own color, or the shadow across it may serve as color -LRB-...) Sometimes the color solely belongs to the edge of a work, or so it seems, until one notices that Hinman has painted the back -LRB-...) He is
not just
shaping an object, but also taking it out from the wall.»
This statement applies more, if
not most, to the five darker paintings stretched on
canvas than it does to the two far superior pieces tacked to the wall on un-stretched
canvas which feature lighter cloudlike
shapes on an otherwise white background.
Not strictly a minimalist, he has made a number of monochrome paintings on
shaped canvases and single color rectangular panels.
These large - scale, dark - toned pieces usually contain ominous, organic voids at their centers and are made from patching together accumulations of
shaped canvases, leather, porcelain curios, wire mesh, conveyer belts and muslin recall
nests.
The
shape of KAWS's Snoopy
canvases is
not derived from the straight forward abstraction «post-painterly» artists championed but from guration; they are abstracted cartoon silhouettes
not clearly rendered within the pictorial eld.
Interestingly, Smirnova doesn't just stick to cotton
canvases; she also loves to stitch interesting patterns and
shapes onto clothing and home accessories, adding interest to jumpers, cardigans and cushions.
Justine Hill's «Paper Doll 3 (Tiki)» (2015) required
not just a good deal of forethought but also a disciplined application of craft,
shaping a wood panel into a ragged ovoid before wrapping it in
canvas and applying acrylic, pastel and pencil.
You had to stand in front of the blank
canvas, you couldn't know in advance that there was going to be a yellow
shape over there.
Mangold became known for his use of
shaped canvases, often creating works of art that weren't merely square, but that incorporated the
shape of the piece in order to enhance the painting.
To comment on the fastidious geometry of Stella's work is
not to claim its total austerity; his works luxuriate in explorations of endless combinations of colors and forms, often on unconventionally
shaped canvases.
Richard Tuttle's «W -
Shaped Yellow
Canvas» (1967), a dyed, unstretched canvas cut into a shape suggestive of a long, open rectangle folded over on itself, retains a handmade quality not associated with the term «minimalism.&
Canvas» (1967), a dyed, unstretched
canvas cut into a shape suggestive of a long, open rectangle folded over on itself, retains a handmade quality not associated with the term «minimalism.&
canvas cut into a
shape suggestive of a long, open rectangle folded over on itself, retains a handmade quality
not associated with the term «minimalism.»
In 1968 I had been doing my own aggressively
shaped canvases which projected from 2D to 3D, influenced
not by Noland but by Richard Smith... of whom I wrote — «The final step in the development of what are now amongst the best paintings being made, was the increasing use of three dimensional frontal depth perspective, which allowed the colour to take its place in the surface, which could be
shaped and bent in perspective and geometry.
He didn't stay within the academic confines of
shaped canvases, like Stella and so many others.
A half - dozen
shaped canvases that helped make Lukin's reputation show here what all the fuss was about:
not just the fact of the wall - to - floor connection, but the powerful, sensuous, and often funny
shapes and weird palette, balancing luminous hues with shades of gray, he commanded with such authority.
Part II: Unreasonable Sized Paintings at SVA Chelsea Gallery does
not, in this instance, refer to unorthodox variations in
canvas shape or size, but rather to particular occasions where painters, who otherwise produce larger works, feel compelled to make paintings approximately within this modest scale — occasions that are often less influenced by reason than by the need to concretize, without limitation, pure emotion or spontaneous thoughts.
Heron is only one of many who realised that flattish abstract
shapes on a
canvas look a bit like maps or aerial views (there is a thematic show on somewhere about this, isn't there, with Lanyon and Davie and other glider enthusiasts?).
I have moved on since then, but seeing one of Richard Smith's big multiple
shaped canvases at Tate Britain recently, I found I still liked it, and liked it more than Noland's Another Line, on display in the same room, along with a vast, vapid Olitski spray painting, more than 20 feet long,
not nearly as good as the ones I've illustrated above.
They want badly to be more than paintings — see how many of the scalloped
shapes lift off the support like feathers summoning flight while exposing
not bare
canvas but reflective Mylar — but they air that complaint in whispers,
not stage screams, despite Yates» parallel practice making indie - rock posters.
The artist also used the pointillism method, a technique developed by impressionist artist George Seurat and Paul Signa.From afar your eyes would only notice a composition of perfectly aligned contrasting
shapes on
canvas, but once up close you will see the different textures and hidden colors you weren't aware of.
Although she is
not at the center of the image, her presence is unmistakable, determining the complex
shape of the
canvas.
The
shaped canvases of the Copper and Aluminum Paintings (completed between 1960 and 1962) are just as funny as their black counterparts, if
not more so — especially «Avicenna» (1960), made from aluminum oil paint on
canvas with a literal hole in its middle.
Since a museum's schedule is booked years in advance, Grynsztejn won't get to organize her first big show until spring 2004, a retrospective of American postminimalist Richard Tuttle, though she has just installed an unstretched
shaped canvas by Tuttle in the permanent galleries next to the Smithson.
In the 1960s, he used aluminum and copper paint and began making differently
shaped canvases;
not using the typical, and readily available, rectangular or square
shapes.
«It was supposed to be one painting, but it was so large I had to wrap it around the corner of my studio and in that process it messed up the middle, where I couldn't get the
canvas to go back to the
shape.
The syntax and pacing of this elegantly hung exhibition includes
not just the polysyllabic nouns of the large verticals (90 1/2 by 59 inches) but small - scale conjunctions of
shaped canvases (a mere 11 by 8 1/4 inches in one case).
It wasn't clear to me because there were no
shaped canvases that I was aware of in the world at that point; but the work had that quality.
Paul Reed has created luminous paintings — stretched,
not stretched, square, rectangular and dynamically
shaped, on
canvas, muslin and paper — that explored transparency through a range of subject matter spanning mandalas, biomorphic
shapes, discs and geometric abstractions.
There seemed at that time to be no emotional need that could
not be satisfied by the chevron, the diamond, the irregularly
shaped canvas and, as of 1967, the long, narrow, horizontal striped images that stretched out forever.
While Laget doesn't plan out her colors in advance, she does make her own swatches of colors and consider them carefully before applying paint to a
shaped canvas.
Rail: Other painters have reconfigured the
shape of the
canvas in the seventies, such as [Ron] Gorchov and [Ralph] Humphrey,
not to mention [Ellsworth] Kelly.
But I knew where I stood, and wasn't afraid of the problem... Although these are the most radically
shaped of the
canvases they are also the most rectilinear in a way.
... I don't think it was an accident that I started
shaping canvases at that crisis time in my life.
The abundance of personality makes it look like Murray is working backward from abstraction toward representation,
not in terms of imagery per se, but in terms of energy; some
shapes seem ready to jump right off the
canvas and strut away.
The latest — a bright panoply of Op Art,
shaped paintings and stained
canvases — features artists known, sort of and
not at all, including Richard Anuszkiewicz, Alvin Loving Jr., Paul Jenkins, Julian Stanczak and Bill Komodore.