LONDON — Before a standing - room crowd at Christie's here last month, the bidding opened
on an abstract painting filled with black scratching, «Burrito» scrawled across the top in bright yellow.
Not exact matches
Room III, which is curated by artists Eileen Cooper and Bill Jacklin (and, confusingly, precedes Rooms I and II), is
filled with light, allowing the bright,
abstract paintings on its stacked walls to sing.
What's
on view: Several puffy,
abstract paintings that look like they're
filled with colorful gel; sculptures assembled out of household - size objects in steel, sometimes coated with beads and materials that look like straw and resin; often, they're outfitted with holes in them
Architectural subjects, including
paintings of the weathered barns and buildings
on the Stieglitz property that blend the descriptive and the
abstract, emerged as a theme, as did a number of panoramic landscape
paintings and bold, color ‑
filled abstractions that often visually related to the subjects she was working
on at the time.
Working
on a wall -
filling scale associated more with
painting than printmaking, Gueorguieva draws from several 20th - century styles, including cubism and
abstract expressionism.
Ash Almonte Bringing me Closer 48 «x48» Mixed Media
on Canvas Vibrant blue
abstract painting filled with red flowers, numerous sketches and the artist's signature drip...
They have been
filling Hauser & Wirth's massive 25,000 square foot space with a suite of Dieter's Clothes Pictures —
paintings made with the late artist's hand - tailored suits (he lost 75 pounds in the early 90s)-- and two
abstract murals
painted on the white siding of portable classrooms in Aesche, Switzerland.
The results were showstoppers with collectors getting
on their knees to stare into the pool of gelatin resembling an
abstract painting filled with human detritus.
Not many art appreciators were there to block my view of Rob Pruitt's hilarious installation: big fancy
abstract paintings twinkling with the artist's signature glitter, innertube objets encrusted with more sparkly «action
painting,» and (literally) heavy - duty floor pieces composed entirely of cement -
filled jeans (Levi's, Sasson, brands from every price point): Five stuffed pairs «sitting up» created a starfish; a snakelike lineup of several more doing splits straddled the floor like a team of torso - free cheerleaders; denim couples, oozing cement cellulite, spooned, mounted each other, and / or tempted one to sit
on them like furniture.
My favourite works are all by female artists, who are so often absent from Italian art history: Carla Accardi's fluorescent and candy - coloured Rotolo Arancio and Rotolo Verde (Orange Roll and Green Roll, both 1967),
painted on sheets of rolled - up transparent plastic sheeting; Irma Blank's Twelve Chapters (1977), 12 laboriously hand - written books
filled with the artist's elegant
abstract signs, and Lisetta Carmi's I Travestiti (Transvestites, 1965 — 71), a pioneering and much censored photographic project about the trans community in Genoa.
I have written
on several occasions of my concerns about the current swathe of
abstract painting that has
filled our galleries in the last three years.
The Albuquerque Period
paintings — with
abstract organic forms
filled with bright colors — established Diebenkorn
on the American art scene.
Indeed, in his last series, he ignores the banks and bridge entirely, and focuses exclusively
on the surface of the water, creating a number of
abstract paintings filled with watery colours and light.
Brock has participated in thematic group exhibitions with the gallery the past two years that have focused
on new ways to make an
abstract painting; however, this September, he stretches out to
fill the entire main space with major new pieces.