I don't think that idea is generally well - understood — in a recent exhibition at MoMA called «Abstract Expressionism in New York — The Big Picture,» the museum's sterile conveyor belt of images
reduced big paintings made for small spaces into small paintings in big places.
Not exact matches
In the past three years, McArthur Binion has been one of the art world's
bigger stories — celebrated for his grid
paintings that play with people's perceptions of surface and foundation, and celebrated for his re-emergence from a level of obscurity that had
reduced him to a kind of footnote for 30 years.
Rail: As much as you had
reduced your «
Big Nude» to black and white while adapting the monumental scale of abstract expressionist
painting, did you think you were going against the grain of what was happening at the time?