Ultimately, despite all its bold
colors, winning performances, and many moving parts, the movie belongs to Fisher, who is resplendent; Hamill, who plays an altered Luke, weathered by storms, with conviction; and Driver,
whose flat delivery can
shift into vulnerability or rage when you least expect it.
However, by the beginnings of the 1960s, leadership of the movement had
shifted to the
color - field and abstract imagist painters,
whose followers in the 1960s rebelled against the irrationality of the Action painters.
From the 1960s are Charles Green Shaw's Black on White against Yellow (1968), in which Shaw revived the polygon from his art of the 1930s to create a new minimalist statement, Leon Berkowitz's Cathedral, No. 11 (1968), a work by the Washington
Color School artist in which imperceptible shifts of color and an emanating luminosity produce a meditational quality, and Betty Parsons's Miami (1966), which evokes the artist's enthusiasm for Native American art, while demonstrating the influences on her work of the leading abstract painters of the era, whose art she championed at her gallery on 57 th St
Color School artist in which imperceptible
shifts of
color and an emanating luminosity produce a meditational quality, and Betty Parsons's Miami (1966), which evokes the artist's enthusiasm for Native American art, while demonstrating the influences on her work of the leading abstract painters of the era, whose art she championed at her gallery on 57 th St
color and an emanating luminosity produce a meditational quality, and Betty Parsons's Miami (1966), which evokes the artist's enthusiasm for Native American art, while demonstrating the influences on her work of the leading abstract painters of the era,
whose art she championed at her gallery on 57 th Street.