Sentences with phrase «solid black squares»

Nor did he create elegant perceptual conundrums out of solid black squares like Ad Reinhardt, nor structural pronouncements about what constitutes a painting, which is what young Frank Stella articulated with a 1958 - 1960 series of black - and - white striped canvases.

I'm the kind of painter I am, and I'm influenced by what I'm influenced by, so I'm never going to make a solid black square and call it abstraction.

Not exact matches

I think a smaller, square scarf (in solid black?)

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The color contrasts are startling, as in «Yellow Half» (1963), a canvas nearly six feet square with a solid V of vibrant red bordered by lemon yellow and then a more subtle red, the whole set on a stark black ground; that is, the ground forms two right triangles on either side of the V. Characteristically, Mr. Noland later went back to these V's, as in «Songs: Indian Love Call» (1984), but this time with very painterly effects, crumpling the flat surfaces with broken strokes of thick pigment.

Highly influenced by the art of Kazimir Malevich and Russian Suprematist theories, he became occupied with solid fields of color arranged in geometric forms of squares and rectangles, directly inspired by Malevich's Black Square (1915).

Over this ground, a solid black rectangle intersects with a choreography of lines and squares in crimson, canary yellow and marine blue.

There's also a solid helping of funkier, more - organic - looking abstraction here — a veiny network of yellow and black lines by Daniel Reynolds, a brushy green canvas by Gregory Montreuil, a spooky painting in pesto green and light purple by Gail Fitzgerald that looks like some ghostly undersea creature (and suggests a miniature, low - key Sigmar Polke) and, probably my favorite work here, a square with a few barely there marks, whiffs of different colors by Roberta Allen.

, Gwangju Bienniale, Gwangju, Korea (2016); Schnitt Schnitt (Cut Cut), Kunsthalle Darmstadt, Germany (2016); Metatextile: Ruptured Narratives, Exchanged Values, Edel Assanti, London, UK (2016); Paper Trail, Raffaella Cortese, Milan, Italy (2016); Surfaces & Solids, Green Art Gallery, Dubai, UAE (2015); DUST at the Centre for Contemporary Art Ujazdowsku Castle, Warsaw, Poland (2015); Investment Opportunities at the OFFICE Gallery, Cyprus (2015); Adventure of the Black Square: Abstract Art and Society 1915 - 2015, Whitechapel Gallery, London, UK (2015); Longing Persia, Exchange and reception of art in Persia and Europe in the 17th Century & Contemporary Art from Tehran, Museum Rietberg, Zurich, Switzerland (2013); Safar / Voyage, The Museum of Anthropology at the University of British Columbia, Vancouver (2013); When Attitudes Became Form Become Attitudes, Museum of Contemporary Art Detroit, Detroit, USA (2013); CCA Wattis Institute for Contemporary Arts, San Francisco, USA (2012); A Permanent Record For Future Investigation, Green Art Gallery, Dubai, UAE (2012); and Interior Renovations, Tehran, 2010, Green Cardamom, London, UK (2011).

Bakker wants to draw a square box around cognition, with a solid black line, and hopes the cognitive box stays the smallest size possible and the same color, filled only with a perhaps - dynamic set of heuristic tricks et.

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