Sentences with phrase «than ad reinhardt»

This «abstract function» is a more straight - forward, literal idea of autonomy than Ad Reinhardt would have it: it is simply a self - contained artwork, something that can stand on its own.

There is no major U.S. artist of the post-war era with a more complex legacy than Ad Reinhardt's.

Not exact matches

It is even more curious that in regard to the notion of a New York School, Mr. [Clyfford] Still and [Ad] Reinhardt, who are on the record more than once as being anti-New York School, have offered the work they own themselves to become new members.

In a catalog essay on Elizabeth Murray, Robert Storr reels off more than a dozen women on the radar of 1950s art, as measured by a «yearbook» edited by Robert Motherwell and Ad Reinhardt before Reinhardt's black paintings.

Few artists deserve to be judged for their private parties or public statements, no more than one should judge Ad Reinhardt solely for his cartoons.

Now that twenty years have elapsed since Minimalist artists broke with the older generation of Abstract Expressionists, it is evident that the younger artists found their roots within the less gestural branch of the New York School - in the simplified but profoundly moving paintings of Ad Reinhardt, Barnett Newman and Mark Rothko, rather than in European geometric painting.

There according to ADAA's press release, 303 will «mark the 100th birthday of Ad Reinhardt» by showing erm, Jacob Kassay, who likes nothing more than looking at nice books on Reinhardt before slapping out another painting.

Even Christopher Deeton's black - and - white paintings derive their symmetry less from Ad Reinhardt and Reinhardt's black paintings than an ink blot.

Perhaps there could also have been two, rather than one painting each, by Joan Mitchell or Ms. Frankenthaler, and one or two fewer works by Kline, Ad Reinhardt or Gottlieb.

Walter Smith, «Ad Reinhardt's Oriental Aesthetic,» Smithsonian Studies in American Art, Summer / Fall 1990, p. 43, sees Reinhardt's black paintings as imparting «a sense, rather than a depiction, of the Buddhist mystical state known as sunyata, the great void, or emptiness, the direct experience of which is the enlightened state of nirvana.»

His concern for formal and stylistic matters rather than narrative function bears the influence of the New York School, and one can liken his insistence on reductive forms to the work of Barnett Newman and Ad Reinhardt.

Ad Reinhardt would willingly agree: it is easier to talk about his paintings in negatives than in positives.

They are an anomaly and have more in common with Ad Reinhardt, whose «Blue Paintings» are on display in Zwirner's other Chelsea gallery space, than they do with the work of Frecon's contemporaries.