In past works, as with the Torn Sky and Torn Cloud series (1969 — 76), Goode slashed canvases that he'd painted and then mounted the wreckage
over another canvas support.
Colorful fragments of Smith's friends» clothing and household textiles are twisted, knotted and draped
over a canvas support, with photographs, script - covered paper and secret notes tucked into the fabric folds.
Not exact matches
In addition to a faster refresh rate to catch up with your doodles,
CANVAS also
supports over 1,000 levels of pressure, just like real pen, or pencil, and paper.
The actual plastic
supports are relatively thick, and in keeping with the earlier work, on each of their sides the artist has painted a row of thick black dots, suggestive of nails holding down
canvas that has been stretched
over the frame.
He achieved this effect by hammering scores of carefully placed nails into elaborate wood
supports, stretching the
canvas over their protruding heads and then painting it, usually white but also silver, red or black.
The 1951 three - panel White Painting is believed to have been painted
over almost immediately as Untitled [matte black triptych](ca. 1951, fig. 2).6 In fact, there is no exhibition history or any other evidence to indicate that White Painting [three panel] was extant between 1951 and 1968; 7 in those years, most of the original White Paintings had slipped out of existence, their
canvases used as the
supports for other pieces.8 Though artists throughout history have created new works on used
canvases, Rauschenberg did so with an unusual frequency and ease, particularly in the early 1950s.9 Looking back at that period some ten years later, he commented, «Today I wouldn't do that....
Roger Brown, American, 1941 — 1997, Clouds
Over Alabama, 1994, Oil on
canvas, Memphis Brooks Museum of Art purchase; funds provided by the Thomas W. Briggs Foundation Community Service Award in honor of Kaywin Feldman, with additional
support from Mimi Loeb 2006.22.
He then tipped, bent, or folded the
canvas or its
support to control how the color moved
over the surface.
Then, announcing a return to sensuous materials, she questions the traditional
supports of painting —
canvas stretched
over wooden frame.
One of her transitional sculptures reproduced in the catalogue, Untitled from 1968, consists of raw
canvas partially stretched
over a wooden
support, and partially loose, bunching and draping so as to expose its internal stretcher bars.
from 1968, consists of raw
canvas partially stretched
over a wooden
support, and partially loose, bunching and draping so as to expose its internal stretcher bars.
The works in this series are all paintings on
canvas, comprising multiple thin «glazes» of paint that have been layered
over one another and evenly applied across the whole
support.
Diverging from his small graphite drawings that determined his practice for so many years, Matthews focuses on large ink and gouache works on paper attached to
canvas and stretched
over wood
supports.
Adian's sculpture — essentially a painted
canvas, stretched
over a strangely shaped
support — resides in the corner of the room (a favored placement for Artschwager).
The materiality of the colored medium (which Jackson Pollock had so recently exalted in his all -
over drip paintings) became negated, literally fusing with the fibrous surface of the bare
canvas support, which, in turn, became its own engaging compositional element.
This gives the painting an all -
over visual sparseness and vibrant luminosity; the thick white gesso sealing and emphasising the slightly toothy texture of the linen
canvas support.
Painting stretchers are used as
supports for bold - coloured
canvas that drapes
over, or is wrapped around them, drawing attention to their physicality.