In 1952, Kramer took issue with a prevailing
understanding of action painting as a «psychological event».
And this technique is crucial for
understanding of the Action Painting.
Not exact matches
Kurchanova writes: «Apart from large canvases covered by Pollock's signature all - over web
of patterned, dripped or sculpted
paint, a range
of his smaller abstract
paintings adds complexity to our
understanding of his work as that
of an «
action» painter... Pollock's active engagement with printing presents his achievement as a painter to us from a completely different angle and complicates the
understanding of his work as based in physical
action and unmediated involvement
of the artist's hand.
Centred around an
understanding of how the
actions of men fuel the changes and gentrification occurring in London, Sahhar uses
painted avatars to look at how gendered identity and masculine characteristics inform and shape such processes — to the detriment
of others and specifically, the oppressive effect this can have on the queer body and communities.
At the criticisms, you might find Clement Greenberg, for instance, you might find Rosenberg, who later wrote for the New Yorker, and coined the phrase in an article
of his, I
understand,
action painting.
Bernède's
paintings are easily accessible for they evoke the collective sense
of an archetypal visual language, and aid a civilisation's
understanding of the world through heightened self - consciousness and awareness, a concept adopted by the
Action painters from Freud and Jung.
«Some
of the labels that became attached to Abstract Expressionism, like «informel» and «
Action Painting,» definitely implied this; one was given to
understand that what was involved was an utterly new kind
of art that was no longer art in any accepted sense.