Not exact matches
In a sense, his best known works — the «multiforms» and his other signature
paintings — are, in essence, the same expression, albeit one
of purer (or less concrete or definable, depending on your interpretation)
means, which is that
of the same «basic human emotions,» as his earlier surrealistic mythological
paintings.
For this exhibition Gallery Director David Cowan has assembled a group
of paintings from 1966 and 1967 that are
meant to document and display a very brief but important period in the painter's output that saw him transition from a
pure Abstract Expressionist approach to the minimal / geometric mode
of expression that became his hallmark during the final fifteen years
of his life.
His was, from very early on,
painting not as a route to
pure artistic form, but as a
means of tapping into something deeply humane, something not manufactured so much as elemental.
What Kelley
meant by this was that the break up
of representational or iconic forms in Abstract Expressionist
painting led to the fetishization
of the trace, understood here as the semblance
of pure expressivity and spontaneity.
Looking at these triptychs, one might have thought for a moment
of Aleksandr Rodchenko's iconoclastic
Pure Red Color,
Pure Yellow Color,
Pure Blue Color
of 1921, except that where the Russian Constructivist's work was
meant to boil down
painting to its primary colors, what the artist called its «logical conclusion,» Levine's wooden panels are invested in
painting's history: The color
of each is derived from the digital averaging
of the hues in one
of Renoir's many zaftig yet jaundiced nudes.
Secretly co-authored by Stanton, Modern
Painting: Its Tendency and
Meaning reviews the major art movements
of the previous century from Manet to Cubism, praises the work
of Cézanne (still largely unknown in the United States), and predicts a time, soon to come, when an abstract art
of pure color will supplant realism.
Included are nine medium - sized
paintings — in oil on canvas or linen, from the last five years — that attest to Ayhens's command
of her pictorial
means: elastic or distorted space, a distinctive palette, and a willingness to allow realism to dissolve into
pure abstraction.
Martin found the voice through which she could most satisfactorily express
pure emotion in the grid; a
means of making
paintings that were devoid
of intellectual content and that satisfied her pursuit
of transcendent beauty: «finally, I got the grid, and it was what I wanted.
The remaining 32 samples will be
pure CeCe Caldwells,
meaning BOTH layers
of paint will be CeCe colors, we'll just pick color combos that we think you'll like.