Not exact matches
No one is going to match the rigor, energy, and humor of Frank Stella and Elizabeth Murray with actual
shaped canvas, and that does not count the sheer feat of its
construction.
This suggestion of imagery is balanced with concepts of objecthood as expressed through
constructions of commonplace materials and
shaped canvases.
She first gained attention in the mid -»60s with white,
shaped -
canvas monochromes and light box - like
constructions made from Plexiglas and fluorescent lights.
Among these works is Objekt mit Wasserwage (Object with Spirit Level), 1969 - 1973, a
shaped canvas that incorporates a leveling tool, thereby physically referring to the
construction and installation of the artist's work, while also pointing to the surrounding architectural and exhibition context.
Physical applications of volatile multicolor brush strokes to the
canvas, are the basis for the hurlubelu — like characters, while the abstractions are an investigation of improvised
construction based on the
shape of a lozenge (diamond
shape) and Catalan solids (geometric).
Yet, universally recognizable
shapes emerge from the
canvas, such as umbrellas, trees, swans, architectural
constructions, and a few human forms.
Soon after, Frank Stella started the
construction of his
Shaped -
canvas, paintings of singular and original forms that challenged traditional canons.
Frank Stella Nowe Miasto II, 1973 Paintings, Mixed Media, Acrylic on
canvas, epoxy on cardboard, chipboard and felt mounted to
shaped panel
construction 96 x 81.5 x 4.1 in.
Her recent works replace previous three - dimensional constructed
canvases, which she evidently has taken about as far as she could, with simpler, airy
construction in low relief; ad - hoc jigsaw puzzles freewheeling
shapes that lean, nuzzle and jostle each other to make unlikely harmonies of pungent, ravishing color and abstract pattern.
Sean Scully: The Eighties (September 13 - October 22) will be the first solo exhibition in the US dedicated to this decade of the artist's career — a period that saw him move away from his precisely striped and gridded
canvases of the 1970s to a more painterly approach that incorporated subtler
shapes and multipart
constructions.
During the early»70s, Hanson created a series of shell -, leaf -, and flower -
shaped cloth
constructions, built of sewn bits of
canvas that were then painted.