Not exact matches
And he creates a landscape painting out of roofer's tar, mopping the viscous
black material onto yellow Naugahyde to
form a
vibrant sunset.
An unframed, multi-paneled frieze hangs below the ceiling line like an unspooled film revealing an inventory of circular geometries; painted in hues from pastel to
vibrant, their
forms chart a rhythm across planes of
black squares, themselves in motion.
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.
The earlier pared down
forms of works such as Arcade (1995) and Two Bunk Cell (1998) were photographed in muted, subtle tones, as Casebere made the transition from the
black and white imagery of his early works to the
vibrant color images with which he is now associated.
Filmed in
black and white against a seamless studio backdrop in the style of French musical television productions from the mid-1960's, «Hors - Champs» is on the one hand nostalgic in the way it pays homage to a powerful but yet obscure art
form, while on the other it is
vibrant as it stretches the limits of what we expect to see in an art gallery.
These
vibrant marks, often circular in individual
form and wavering in overall view, pop off their
black background creating an essence of oscillation.
Composed of sixteen panels portraying the duo, it is a stunning example of their highly sought - after work which features the singular color palette — trademark of their early artistic practice, in
form of cool
black and white set against a
vibrant red.
This special exhibition offers prime examples of Sultan's style, characterized by stark,
black forms amid
vibrant fields of color.
This exhibition will feature two large paintings, a stunning
black «identified
form» from 2005 and one of Innes» new works, a large
vibrant green painting, where the picture plane is split vertically in half.
In Excursion on the Thames (1953), one of several pictures in the exhibition deriving from Avery's only trip to Europe in 1952, the perfect balance is struck between loving observation of the everyday and visionary
form - making: the pleasure boat slowly moving down the Thames, observed from the steps of the Tate at Millbank, is simultaneously two bands of
vibrant colour glowing against the almost -
black of the middle ground.
The subtle colours and deep
blacks they offer
form a contrast to the bright and
vibrant world of the LED TV.They aren't cheap, though: a top of the line... Read more