Its revival here, under the auspices of craft, begs the question: is realism
the only kind of painting that can claim to be «crafted»?
Not exact matches
Even if third parties could
only get a little
of your data — your hometown, say, or your gender — they could match it up with all
kinds of other records, such marketing databases or voter registration databases, to
paint a more complete picture
of you as a person.
SHELLY STEELY: Yeah we used the dresser it was my mom's dresser
only they're not from when she was growing up I mean in the seventies and her grandpa had her
paint them orange because that
paint was on sale so horrible bright orange color and I think there was two
of them and I think at one point my brother
painted one black but the other one was just sitting in the closet and so we took it out and repainted it
kind of a bright blue.
There was some
kind of funky varnish on the laminate that was
only on the doors that crackled and flaked off like crazy after I
painted it!
What Audi would have given for that yesterday... Sunday 15.52 In the end, it wasn't the
paint - swapper some people think
of as the
only kind of great race, but if you watched it unfold right through, and remember that it's called «endurance» racing, it genuinely was a great Le Mans.
There's the scene where the Countess asks Maud what
kind of painter she is, and says there are
only three
kinds:» Those who
paint what they want to see, those who
paint what they feel they see, and those who
paint what they think about what they see.
Independent art
of all
kinds (music, film, books, theater, comedy,
painting, sculpture) may be the
only thing keeping us sane and grounded.
He was not the
only one
painting that
kind of subject...
I have studied up on the game extensively — I can easily tell if a
painting is fake, I know everything I want, best ways to earn money, the
kind of map I hope to aim for... I'm ready for it So really, the
only problem is not having the patterns set to go.
Genetic Disaster's visuals are also a very strong point
of the game the game is fully hand -
painted kind of making up for
only having one tileset.
It became too easy for me to
only make this
kind of painting, so I try to be better, to go into difficulty.
Even earlier works like Fable II and Rite, both from 1957, earn their titles by the nonspecific figurative connotations
of their bunched shapes; it would take
only a little bit
of further manipulation to turn those forms into the
kind of stylized figures found in the
paintings that Jan Müller was making around this time, or Bob Thompson just a little later.
The
kind of violence implicit in Howard's
paintings is not
only outward - focused, but also directed towards oneself: the canvases mirror Howard's own height and wingspan, approximately 66 inches in each direction.
Not
only does Plenty recognize a multitude
of makers, but it also celebrates artistic media
of all
kinds —
painting, drawing, printmaking, photography and sculpture are all represented.
Rosenberg's critique shifted the emphasis from the object to the struggle itself, with the finished
painting being
only the physical manifestation, a
kind of residue,
of the actual work
of art, which was in the act or process
of the
painting's creation.
So I built these
paintings in layers,
kind of like carpentry, using felt, paper, canvas and wood like you would in a collage,
only in a more geometrical pattern.
Despite being critically well received — one reviewer proclaims the work to be «a new
kind of painting, one that recasts the vocabulary
of abstraction in a form giving rise to new precisions
of feeling» — the show doesn't do particularly well with collectors:
only one
painting sells.
In 2007, an original Crying Girl by Roy Lichtenstein sold at auction for $ 78,400, and in 2011, Sturtevant's canvas reworking
of Crying Girl, the
only Sturtevant
painting of its
kind in existence, sold for $ 710,500.
The title
of the
painting (pictured), the
only one representing him in the exhibition, is a
kind of summation: In Sober Ecstasy.
As the
only exhibition
of its
kind in California, it brings together more than 120 works by 28 individuals, including large - scale installations, sculpture,
paintings, works on paper, wall drawing and photographs, as well as digital and video art.
The
only paintings that didn't have that
kind of problem were Yves Klein's — the blue
paintings.
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
And the
only kind of horizontal lines we have are really on the top left and the bottom right, and otherwise, even the edges, the side edges,
of this
painting are diagonal, so they almost shoot you out to another artwork or whatever else might be in the room.
Not
only did they give you a new direction, but they were also critical
of the
kinds of assumptions that went with what gesture was, and the idea
of direct
painting.
His
only «trick,» to zigzag one
of the bands, somehow is responsible for all
kinds of miracles, conjuring up, in different
paintings, sky, a summer afternoon, twilight, blue sea, mist, and everything pellucid.»
Roberta Smith reports that «the arrangements at Greene Naftali, especially, convey the impression that the
only way to take
painting seriously is to treat it as some
kind of joke.»
2011Out
of Focus Photography, Saatchi Gallery, London, UK (catalogue) Second Nature: Abstract Photography Then and Now, deCordova Sculpture Park and Museum, Lincoln, MA «Render: New Construction in Video Art», California Museum
of Photography, University
of California, Riverside, CA The
Only Rule is Work, Galerie Waalkens, Finsterwolde, Holland Painters
Painting, Atlanta Contemporary Art Center, GA Eslov Wide Shut Part II, Mallorca Landings, Mallorca, Spain Movable Facture, Vivo Media Arts Centre, Vancouver, B.C., Canada (catalogue) A Useful Looking Useless Object, Sierra Metro, Edinburgh, Scotland Sound + Vision: Crossroads, Plug - In, ICA, Winnipeg, Canada Effects & Affects: The Alphabet, Fumetto Festival, Lucerne, Switzerland You Killed the Underground Film or the Real Meaning
of Kunst bleibt... bleibt... & The Sisters, (Group show with Bettina Koester, Wilhelm Hein and Jennifer West), Lost Property, Amsterdam Update no. 2, White Columns, New York (catalogue) Another
Kind of Vapor, White Flag Project, St. Louis, MO Contour 2011, 5th Biennial
of the Moving Image, Mechelen, Belgium Adult Contemporary, Kavi Gupta, Berlin How Soon Now, Rubell Family Collection, Miami, FL (catalogue) California Dreamin, Arte Portugal Biennial, Lisbon, Portugal Home Show Revisited, Contemporary Arts Forum, Santa Barbara, CA (catalogue) Abstract Moving Image, Taka Ishii Gallery, Tokyo, Japan One Person's Materialism is Another Person's Romanticism, Remap 3, Athens Greece
In these
paintings, I change the way I layer, I create blobs and pour into blobs and all
kinds of stuff and in the end each layer has several colors, not
only one color... In the drill pieces, every drilled circle is a little
painting on its own.
Johns was not the
only artist
of his time to explore this relationship between art and the real in new ways, but he has done so, again in a
kind of dance, with exceptional originality and with an intellectual rigour
of conception combined with often luscious sensuousness in the deployment
of paint and colour.
Bradford is
only the third African American artist to be housed in the US Pavilion, and I found his blend
of great
painting with both social issues and context for his work to have the
kind of reverberation and passion that deserves a response.
But Stella wanted none
of that
kind of interaction to occur between his work and its viewers, leading him to make his most famous statement about his art: «My
painting is based on the fact that
only what can be seen there is there.
Because such a
painting can go in
only one place, it draws a further distinction with respect to
paintings of the usual
kind.
The exhibition not
only includes 130 art objects —
paintings, drawings and graphics — but there's also a reconstruction
of the
kind of New York nightclub Haring liked to visit, as well as a re-creation
of his Pop Shop, which sold his T - shirts and tote bags.
I remember one day I was
painting in my studio and the windows were
kind of not
only nailed shut but
painted shut and so there was really no ventilation.
Musson is no longer making his Coogi sweater
paintings — currently it's the
only one
of its
kind available.
Alex Katz Gavin Brown's Enterprise 620 Greenwich St., through June 13 For his first solo New York gallery show in five years, we find Alex Katz, now 88, not having lost an ounce
of his focus or painterly intensity,
painting not
only at the very top
of his form — a
kind of contemporary Monet, an artist who almost every time out is
painting something like a masterpiece — but making some
of the most glorious
paintings anywhere right now.
My ultimate goal is to produce a
painting that has a presence and projects a
kind of luminance that can
only exist in this format.
«After Abstract Expressionism» itself reveals the
kind of gamble inherent in this type
of analysis, as its accuracy, success, and relevance can
only be born out with time, and so it is that we can now see that the Color Field
painting Greenberg championed at the end
of «After Abstract Expressionism» did not ultimately prove to be the most fecund avenue
of new artistic production in the»60s.
It was
only a matter
of time, however, before artists began to see this parallel, between the visual language
of painting and that
of commerce — between the visual language
of painting and that
of commerce — as the point
of departure for a new
kind of art.
Greenberg saw the clotted and oil - caked surfaces as reflecting the artists» existential struggle; Rosenberg saw the finished object as
only a
kind of residue
of the actual work
of art, which he thought lay in the «process»
of the
painting's creation.
The curious fact is that when you do look, what you see is not
only sculpture but a
kind of painting as well.
The installation Black
Painted Plants, 2015, calls attention to several different
kinds of looking, including those that can
only happen over long periods
of time.
To tell the truth, as a former painter, I am almost jealous
of Doig's recent
paintings,
of their presence and frankness; they have the
kind of authority that can't be striven for, but
only arrived at like an unexpected gift — one that may pass.»
And I've
only been doing this
kind of landscape
painting for fifteen years!
It was something Ad could have said because he was so adamant in his rejection
of any
kind of representation — he was the
only New York School artist who never
painted figurative works — although unlike most
of the others he actually could draw and studied at the National Academy
of Design.
[1] When the Gallery opened in 1941, there were
only a few American
paintings and no contemporary or modern art
of any
kind on view.
I think that color in
painting can transmit
kinds of experience because it's energy, but
only if it's treated as such by the artist.
Only later did I realize that landscape
painting could have its own
kind of structure and I was able to pick out certain guideposts, such as Claude Lorrain, Corot, and Constable who comes the Dutch.
What you say about the Heron seems such a marginal and slender
kind of content to build abstract
painting around, these nuances
of colour relations, especially if
only a «few» can make anything
of them.
In discussing the place
of painting and sculpture in the culture
of our time, I shall refer
only to those
kinds which, whether abstract or not, have a fresh inventive character, that art which is called «modern» not simply because it is
of our century, but because it is the work
of artists who take seriously the challenge
of new possibilities and wish to introduce into their work perceptions, ideas and experiences which have come about
only within our time.