Sentences with phrase «wrote about the abstract paintings»

It is not quite a year ago that I wrote about the abstract paintings and watercolors of Stephen Mueller.

Not exact matches

Some ideas for writing about abstract art... How did you paint it?

The essay «Painting and Countenance» is, as is much of my writing on painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this Painting and Countenance» is, as is much of my writing on painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting, especially abstract painting in this painting in this country.

As Andrew Lambirth writes: «His paintings are abstracts but they are not about absolutes.

Ellen Schwartz writes in 1977 about his show at John Weber, where his constructed paintings were still abstract: «Humphrey's latest works, meditative rather than communicative, require the suspension of conscious efforts to grasp them before they will yield their secrets, which lay within ourselves all the while.

In a 2010 publication about the painting written by Robert Storr, the author asks: «what is the meaning of a single, small, almost abstract depiction of one of the most consequential occurrences in recent world history?

Martin is sometimes described as an abstract painter, and he has written insightfully and humorously about abstraction here in the Brooklyn Rail, in particular «Everything is Finished Nothing is Dead: An Article About Abstract Painting.&rabout abstraction here in the Brooklyn Rail, in particular «Everything is Finished Nothing is Dead: An Article About Abstract Painting.&rAbout Abstract Painting.»

This essay, which builds upon an essay about contemporary abstract painting that I wrote for The Brooklyn Rail in 2011, was just published in the January / February 2014 issue of Christie's Magazine.

Kathy Halbreich, director of Walker Art Center, Minneapolis, writes about the range of influences he absorbed: «From his early drawings rooted in a European Surrealist tradition to his monumental abstract canvases, Motherwell's visual language synthesizes a veritable history of modern painting, reflecting ties to Picasso's early collages, Matisse's color - rich paintings, and the development of American Abstract Expressionism in which he played such a pivotal role».

I am writing this statement not quite knowing what the immediate outcome will be, but am aware of the potential collective impact that this distinctive community of creators will have with Brian Belott's innovations in collage, Ákos Birkás's philosophy about painting a certain situation, Regina Bogat's devotion to art making with clever variations on certain abstract themes, Matt Bollinger's extra-large and bracing graphite drawings, Paul DeMuro's painterly electricity, Marc Desgrandchamp's time - fragmented paintings, Michael Dotson's paintings of the «Disney - esque,» Michel Huelin's relationship with nature and software, Irena Jurek's very meaningful cat character, Alix Le Méléder's proposals of four colors determined by the passage of the brush, David Lefebvre's painted images cut out of magazines or downloaded from a mobile phone, Pushpamala N.'s ethnographic documentations which have been compared to Cindy Sherman, Wang Keping's unique wooden sculptures that juxtapose vivid emotion with a marked sense of introversion, Katharina Ziemke's pictorial treatment of current events, and me, the co-host with a small drawing.

My favourite works are all by female artists, who are so often absent from Italian art history: Carla Accardi's fluorescent and candy - coloured Rotolo Arancio and Rotolo Verde (Orange Roll and Green Roll, both 1967), painted on sheets of rolled - up transparent plastic sheeting; Irma Blank's Twelve Chapters (1977), 12 laboriously hand - written books filled with the artist's elegant abstract signs, and Lisetta Carmi's I Travestiti (Transvestites, 1965 — 71), a pioneering and much censored photographic project about the trans community in Genoa.

I have written on several occasions of my concerns about the current swathe of abstract painting that has filled our galleries in the last three years.

She wrote a famous and very scandalous book about the De Koonings years later and she was an abstract painter whose imagery was rooted in landforms and I couldn't even comprehend abstract painting at the time.

However, I think she is prevented from acknowledging the complexity of this aspect of abstract painting because of her insistence on limiting it to being what institutional critique insists it must be, a dead medium for which new uses must be found and they will be about writing and reading not about painting and seeing.

What I'm much less sure about, as I have written elsewhere, is whether in abstract painting there is enough real spatial content in the first instance to set up any kind of meaningful tension to such a resolution.

It is terribly difficult to write about painting, especially abstract painting.