She has not abandoned the ideal
of painting as object, including painted ceramics and something like lawn furniture.
The intermediate layer of white, connecting color to canvas, also serves as bridge from painting as composition to
painting as an object in the world.
Komada's practice reveals the metaphoric space
between painting as object and painting as action and explores the boundary between art and craft.
His ideas
about paintings as objects, emerging into the viewer's space rather than creating the illusion of 3 - dimensionality within the picture plane, still resonate.
«This isn't a study collection, it's a place to see the best paintings we can show so that visitors will be able to
experience paintings as objects of enjoyment and culture.
The category of painting is examined more generally in the wood panels on top of the pedestals: straddling the line between abstraction and representation, they
offer painting as both an object within sculpture as well as a discrete project central to the artistʼs studio practice.
A limb can signify the tactility of oil paint or vice versa — not so very far from the formalist goal of
painting as object after all.
Jonathan Gabb is an artist who has been exploring the idea of
paint as object since graduating from Cass school of art at London Metropolitan University in 2008.
A rich palette dominates his paintings of this period, often with a cruciform as the central compositional anchor, a form that he later isolated
evoking painting as object.
In his essay, Rosenberg not only pointed out the newness of this method, but he also entirely shifted the attention away
from paintings as objects, declaring that all that mattered to action painters was the creative act.
In 1928 he visited the Netherlands and responded to the masterpieces he saw in a series of «Dutch Interiors»; that year he made his first papiers collés, incorporating collage materials
into paintings as objects.
Duncan Campbell's acclaimed film It for Others — shown here in the context of Lismore Heritage Centre — tracks the object, from African artefacts to cheap, mass - market commodities, while Gerard Byrne's series of museum paintings offers a view of
historic paintings as objects — photographed from behind, where their making and history is most evident
His work as an artist and an educator encouraged many in his own generation and future generations to
consider paintings as objects rather than mediums or intermediaries to transcendent experiences, and assisted late 20th Century Modernism in its quest to stay inventive and free.
By creating this unfamiliar presentation for painting, Sperling is paying tribute to artists whom have before him
made paintings as objects, such as Ellsworth Kelly, Robert Mangold or Imi Knoebel.
I mean that Stella has always been ambivalent not only about whether one should
perceive painting as an object or an abstraction, but also about the status of painting as
The exhibition includes one gray slash painting that Fontana made in 1960 alongside work by Amy Feldman, Maximilian Schubert, and Alan Wiener — younger artists who have each adopted an element of Fontana's approach, from using monochromatic color to exploring simple hand - drawn gesture and
treating paintings as objects.
Aided with his broad, gestural brushstrokes, vivid palette of contrasting colors which helped to emphasize the rectangular shape, Hodgkin defined
painting as an object rather than a painted surface.
Simply put, the exterior shapes of the canvas sometimes mimic and engage with the internal shapes of the paintings, adding to the idea of
the painting as an object and questioning notions of two and three dimensional space.
In conversation he claimed really not to know, beyond the barest material definition, what constitutes
a painting as an object of interest.
But her relation to representation is not in the realm of narrative or allegory, the thing itself is the important thing,
the painting as an object that projects into our space carrying pigment on its surface.
Another has swirls of paint but the thick support of a formalist's
painting as object.
While drawing the viewer in, Rachel MacFarlane aims to create an illusion by emphasizing the physical attributes of
the painting as an object in space.
Sean Scully and Brice Marden still treat
a painting as both an object and a study in studio light.
The initial familiarity of these scenes allows for our personal investment in them, but the literal trace of the object, created by the puncture of the needle and gauge of the thread, continues to pull us back to the surface and to
the painting itself as the object of extraordinary investment and inquiry.
Other artists have sought to renew the formalist mantra of
painting as object, either by painting on three - dimensional household objects or by working with the similarities between painting and plain old fabric design, as in clothing or folk quilting.
Although the heretical «maximalist» Stella divided critics, his extravagant flights into literal space extended his definition of
paintings as objects and seeing as a physical act.
Martin comprehends
his paintings as objects with a life of their own that do not require the protection of the White Cube's holy spaces.
Sculpture has always offered relief, in more ways than one, and Clement Greenberg made a point of
painting as object.
These nine paintings illuminate the innovative way Herrera conceptualized
her paintings as objects by using the physical structure of the canvas as a compositional tool and as a way to integrate the work to the surrounding environment.
Pencil marks left in, masking tape, signal
the painting as object, mediated, layers away from representation.
Following his Sky and Torn Sky / Cloud series from the early 1970s, Goode turned towards what can be seen as an existential inquiry into Minimalist painting, color, and the reification of
the painting as an object.
Camil specifically channels Frank Stella's Copper Paintings (1960 - 61), a series that presented his first use of tape to create repetitive striped patterns, a mechanical appearance inevitably pointing to the idea of
painting as object.
Displacing notions of frame and boundary,
the painting as object defines its own parameters of visible.
They both confront painting as about time and restraint with
painting as an object of pleasure.
Never mind the association of geometric abstraction with
painting as object.
And of course there's the theme of
the painting as object.
Martin sees
his paintings as objects with a life of their own, and not the sanctified preserve of the «white cube.»