Sentences with phrase «paint against canvas»

The resistance of paint against canvas or panel grounds the search for an answer.

She splashed colorful paint against canvases in homage to brighter days.

Not exact matches

Thinking about throwing him an art party with canvas and paint in water guns, eggs or balloons to throw against the canvas.

It has to be the silhouette — a figure in black against a dramatic canvas, almost always perfectly composed like a painting.

Tucson - based artist Kyle Kulakowski specializes in video game - inspired black velvet paintings, a medium that uses black velvet in place of canvas, allowing vibrant colors to pop out more against the dark background.

When painting a background, I guard against it taking away from the main statement of the canvas.

Each portrait is the same size, and shows the sitter in the same chair against the same background, «yet Hockney's virtuoso paint handling allows their differing personalities to leap off the canvas with warmth and immediacy -LSB-...] offering an intimate snapshot of the LA art world and the people who have crossed the artist's path over the last years.»

The installation features a svelte, ladderlike sculpture draped in a coat like painting set against two canvases with nearly identical imagery.

Unlike her early paintings, this small group of works shows West's increasing experiments with more varied compositional patterns and the drama of forceful brushstrokes, usually black against white unprimed canvas.

Those curved areas may look back to Henri Matisse as well, pressed against a painting's edge like the leg and torso of a grand nude — even as that very edge takes on a touch of bare canvas that seems to change its dimensions and to divide a painting into two slightly misaligned panels.

Every review from Jackson's recent upswing stone - raves about a series of paintings in which the artist paints the canvas of a handful of pictures and then circular - smears them against the wall.

In this overdue exhibition, Toroni has cunningly hung twenty - five square paintings from 1987, each one marked with fourteen orange strokes, at the height of the gallery's mezzanine: in the main space, the canvases are a tick below eye level, while in the upper space they're propped against the wall, as they rest on the floor.

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Pierre Buraglio cuts, folds back, and then paints the center of a canvas, for a vertical of deep color against the simplicity of its background and the wall.

Most of all, she could concentrate on paint, with a gesture as simple as pushing a brush against canvas.

Referencing organic shapes, his oil and acrylic paintings on canvas and paper expertly utilize the single gesture to represent an entire form, delicately balancing soft effusions of colour against the frenetic energy of the mark.

Over the next two years, he began to make a new kind of picture, the «anthropométry,» by covering models with paint and having them press their bodies against paper or canvas.

An adjacent canvas, one of a series of new figurative works in the exhibition, depicts a painting Murillo encountered in a collector's home in Bogotá — showing a young boy selling fish — against Regency - style wallpaper and antique furniture.

He is also known for funding his real - estate investments in this neighbourhood partly through the artworks that he sells in galleries — notably vertical stripe paintings made from the wooden floorboards of school gym floors (sourced from condemned Chicago public schools) or canvas fire hoses (in reference to their brutal use against civil - rights protestors in Birmingham, Alabama, in 1963) and also for his expressionist black paintings, abstractions made in tar in collaboration with his father, a retired roofer.

At Sadie Coles he showed work featuring the imprint of huge palm leaves on weathered canvases splattered with rain saturated with pigment, while at the Zabludowicz Collection there were boldly painted aluminium sculptures and a recent series of five video works using appropriated scenes from Tarkovsky films played against a segment of a Velvet Underground song.

«While his contemporaries Donald Judd and Dan Flavin created work that was machine - made, I see Stella as a modern day John Henry, racing against the machine, brushing paint from one end of the canvas to the other and back again, setting an admirable and competitive pace.»

In a departure from previous works, the new paintings pair color against color, rather than incorporating white or raw canvas to stabilize the foreground.

In her pulsating new large - scale canvases, Gilfilen pits clashing colors against one another in snaking layers and agitated line, filling once pristine areas with murky, mark - cancelling clots of paint.

The «Open» series was born when Motherwell noticed the enticing «congress of shapes» created by a smaller rectangular painting leaning up against a larger canvas in his studio.

New York - based Eddie Martinez paints huge, brightly coloured canvases, often imbued with a sense of menace against black backdrops and harsh spray painted lines.

In these early galleries, perfunctory sketches alternate with paintings like «Modern Art» — a brief anthology of enervated abstract marks against a black ground — that skewer a half - century of avant - garde rhetoric in one mid-size canvas.

Her works push the boundaries of a two - dimensional medium; the irregular triangles in the «Giant Maiden» series (1972) strain against the edges of canvases painted in high relief, while the explosive colors on an intricate collage - like canvas in Do the Dance (2005) lend the painting a kinetic, almost optical quality.

She may not have pushed painting to its limits, but she pushes a brush against canvas repeatedly, for her signature compositions.

These heavily textured layers contrast against the gestural splashes of paint, a la Pollock, which jump from canvas.

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, Lucpainting 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, Lucpainting (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, LucPainting: 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, LucPainting 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 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, LucPainting 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, Lucpainting 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, Lucpainting 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 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, LucPainting 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, Lucpainting 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

Done with oil sticks pressed directly against the canvas, a method Mr. Goldberg chose some years ago over brushing with paint, they are energetic productions based on what he called a «quasi grid,» with patchy squares of color intersected at random by strong diagonals.

In these playful, environmental works, such as spinach and banana (2013), Estna arranges her paintings in various positions, tilting them against walls, hanging them, and placing them on their sides; she often extends patterns to fabrics heaped on the floor and small spheres placed on pedestals, or drills holes into canvases so that light shines through them.

In «Beyond the Black», exhibited last autumn at Victoria Miro in London, he showed a series of large canvases with snatches from Nietzsche hand - stamped in black paint, forming abstract shapes against their shimmering slate backgrounds.

Sliding, pushing, wiping, scraping, troweling thick masses of paint against and across the canvas.

How could Hodgkin's crudely daubed, splishy - sploshy canvases (I exempt from the description a few works painted at the highpoint of his career in the mid-Seventies) bear scrutiny against works by Rubens or Rembrandt?

In the strongest work in this show, what look like cut - up scraps of painted canvas are really thick swaths of acrylic paint, peeled off a flat surface and draped over bare wood stretcher bars leaning against the wall.

Two additional clumps support each canvas as it leans against the wall like some icon or ex voto, reminding us that painting is a universal, not Western, art form.

Using toxic colors and combinations, Flood started making paintings from paint soaked lace pressed against a canvas, showing the age and wear endured by the battered lace before its last incarnation in printmaking.

Other records set at the sale included $ 1.1 million for Brazilian artist Candido Portinari's oil on canvas titled Navio negreiro, 1950, against an estimate of $ 700,000 / 900,000 and $ 794,500 for Argentinian artist Emilio Pettoruti, for the oil painting Concierto, 1941, which was estimated at $ 300,000 / 500,000 and had been in the same private collection since it was acquired directly from the artist.

Just a few years ago, a visitor curious about Frank Lobdell's 15 April 1962, in the Oakland Museum of California, could have scanned its wall label to read this description of the painting: «A tightly coiled form struggles against the confines of the canvas.

Dean Sameshima Against Nature: A group show of work by homosexual men curated by Dennis Cooper and Richard Hawkins, January 6 through February 12, 1988, Los Angeles Contemporary Exhibitions, 2016 Painting - Acrylic on canvas 137 x 99 cm (53.94 x 38.98 in)

He happened on the theme in the late 1960's, when he leaned a small painting, its back facing forward, against a larger canvas whose surface had already been painted.

They wanted to make a statement against the high - qualified art that uses only marble, oil paint and canvases, choosing to recycle materials, or using natural items to build their «assemblages».

Applying layers of paint with organic spontaneity to a conventionally stretched canvas, she then seals the paint against its surface with a perspex panel.

Jenny Saville, «Ancestors» Opening: 6 — 8 p.m., Gagosian, 522 West 21st Street What you should know: YBA painter Jenny Saville hasn't had a New York solo in some seven years, so your appetite should by now be whetted for her grotesque depictions of bodies under duress, pressed against the canvas as a pane of glass, or grotesquely overweight, all recalling her countryman Lucian Freud's hungry paintings of abject flesh.

I think there can always be something that surfaces visually in an abstract painting, if it's not a grid it will be a landscape, a still life, a garden, a face, especially when reduced to a small image on a screen, which can sometimes encapsulate the main properties in a work which might not be so evident while up against the canvas painting.

A neon sign with the title of the exhibition, referring to the title of the art - history guidebook 1,001 Paintings You Must See Before You Die (2007), rested on the floor against the gallery walls, which were covered with dozens of small A4 paper - sized monochromatic canvases arranged in a grid.

It then struck me that Lucio Fontana had made the slash paintings, where he slashed holes in the canvas — hard angry gestures against traditional forms of painting and art history.

He emphasized spatial relationships in his work by leaving unstained, bare canvas as a contrast against the colors used throughout his paintings.

As an example of his work, Shozo Shimamoto's Bottle Crash performances consisted of the artist smashing glass bottles full of paint against a ground of canvas to create a pulsating field of color.