Sentences with phrase «squeegee abstractions»

His diversity ranges from austere photo - based figurative realism of the early 1960's; brightly colored gestural abstractions, squeegee abstractions, bold Colour Charts and the recently completed Strips.

Acrylic paint appears to have been pushed and scraped over other layers, recalling Gerhard Richter's squeegee abstractions.

His monumental squeegee abstractions form a relief - like chromatic film on the grounding of the canvas.

To mine this threshold between truth and story, Ghenie remixes this classic Modernist scene with the shock of Francis Bacon's gnawing figuration and with Gerhard Richter's squeegeed abstraction.

Not exact matches

Richter has pulled off abstraction, but with a squeegee, and photorealism, but blurred to the very edge of legibility, and one hardly knows which to call more emotionally laden or detached.

And it demonstrates the variety of Richter's work that this is achieved with none of the blurred photorealism for which he first found fame, and only one example of the squeegee - dragged abstractions which are such darlings of the art market (record over # 30m).

It includes realist paintings based on photographs, colourful gestural abstractions such as the squeegee paintings, portraits, subtle landscapes and history paintings.

The «heroic» moment of abstraction is long gone, and although senior figures like Bridget Riley still command respect, it's easier for most to accept the sceptical squeegee - ing of a Gerhard Richter or a Christopher Wool, while young painters get plaudits for the slightest of chuck - it - at - the - canvas conceits.

Like his abstractions with a squeegee, Struth coolly mechanizes the Abstract Expressionist brush while reinventing its impulsive beauty.

Exploring the possibilities in abstraction, Min's use of squeegees and sprayers distances the hand and ultimately helps to create the ethereal nature of each canvas.

The first series Richter completed after his 2003 retrospective at MoMA, Woods is comprised of series of dense and vibrant abstractions built from and marked by his signature technique of slathering paint with a rubber squeegee.

Since the early 1960s, Richter has explored a variety of styles, including various flavours of abstraction, from hard edge stripes to the faux expressionism of squashing paint under glass or dragging it across the canvas with a squeegee.

Three whole galleries are given over to Richter's blurred, history - haunted portraits in black - and - white; to his squeegee - executed abstractions, poised between faith and doubt in the future of painting; to color charts, seascapes and blotchy aerial maps.

In «Yellow Wall», for example, an image Carnegie has used several times, of a path vanishing into a leafy tunnel, is dissolved almost to abstraction in a mass of chartreuse paint, trowelled on in great gobs, squeegeed and gouged.

Nearby is the well - known, Vermeer - influenced study of Richter's wife, Sabine, The Reader, and — yet another contrast of style — examples of his big abstractions made using a squeegee.

In the 1970s, Whittenʼs experimentation turned to abstraction, when he developed new methods of painting, in which brushstroke was removed from the making of the work; instead, paint and canvas were processed, using large troughs to hold paint, and dragging canvas across, with squeegees, rakes, and Afro combs to create surface texture, line, and voids.

Historically, abstraction had reduced painting to its essential elements, colour and shape, but for Richter it is the accumulation of myriad layers of paint and the contingency of the squeegee that imports such power to his work.

In February 2012, Art Forum featured a 1973 painting by Whitten on its cover, prompting art critics and curators to ask why Whitten's work had not received more recognition earlier in his career, especially given that his scraped and squeegeed painterly abstractions of the 1970s predated by a decade similar works by the widely acclaimed German artist Gerhard Richter.