Abstract painting, primarily white with a large squarish area of dark green in the top left quadrant. Loose brushwork varies from wide, full strokes to the short, rapid strokes at the compositions center. Pigment application ranges from a very thin wash to heavy impasto.
In "White Territory," the title of the work along with its gestural brushwork strongly evoke the memory or sensation of a landscape. It is a reflection upon personal associations and inner domains that the artist calls "internal weather."
Abstract painting composed of long broad brushstrokes in black and white with a small area of red in the upper left quadrant.
“Untitled” is typical of Kline’s work during the 1950s and 60s, his use of strong lines of black and white paint imparts a sense of the artist’s hand, creating a cacophony of line and gesture. Despite the appearance of the accidental, this work is actually very carefully conceived and consciously constructed. The balance between black and white, volume and void, is precisely thought out while expressing an urgency and vitality.
A black granite abstract sculpute. Two "legs" rise up toward one another to meet at a point, making a basic triangle shape. At the bottom of the "legs," two horizontal "feet" protrude away from the object's center and end in four-sided points.
Tony Smith's abstract sculpture resonates between the mathematical and the organic, the material and the spiritual. It also shows some of the architectural sense that came from his early career as an architect. Solid and powerful, the piece nevertheless exhibits a kind of movement and flux as viewers move around it.
Brown (bottom left) and green (top right) interlocking abstract forms painted with a gap between them; image is centered and lies on the diagonal.
Although most of Tuttle’s prolific artistic output since he began his career in the 1960s has taken the form of three-dimensional objects, he commonly refers to his work as drawing rather than sculpture, emphasizing the diminutive scale and idea-based nature of his practice. He subverts the conventions of modernist sculptural practice (defined by grand heroic gestures, monumental scale, and the ‘macho’ materials of steel, marble, and bronze) and instead creates small, eccentrically playful objects in decidedly humble, even ‘pathetic’ materials such as paper, rope, string, cloth, wire, twigs, cardboard, bubble wrap, nails, Styrofoam, and plywood. Influences on his work include calligraphy (he has a strong interest in the intrinsic power of line), poetry, and language. (http://www.pbs.org/art21/artists/tuttle/index.html, accessed 1 Feb 2010)
Verso, label: The Pace Gallery/32 East 57th Street/New York, NY 10022 [black letterpress, all one line]/NEVELSON Black Excursion 13/#1922 1969 Black Wood & Formica/37 1/2 x 47 1/4" [typescript, below]; to the r., PAUL SIPOS INC./181 DUANE STREET NEW YORK, NEW YORK 10013/ (212) 925-3067; below, in black marker: LANNAN/FOUNDATION/1/CHRISTIES
inscribed in red paint, l.r.: 82.71
95.25 cm x 120.02 cm x 11.43 cm (37 1/2 in. x 47 1/4 in. x 4 1/2 in.)
Square, rectangular, and circular pieces of wood and formica are assembled in rectilinear, cabinet-like compartments. The entire object is painted black.
Assembled from found pieces of wood and formica, the objects that make up the piece resonate between being subsumed into the purely abstract form and reminding the viewer of their one-time life as daily objects.
At the outer edge a long black rectangle composed of graphite and wax extends upward. Within this border is a white rectangular stripe, following the same arc as the outer black rectangle, which is exposed Arches heavy white paper. An inner black stripe sits at the composition's center composed of the same wax and graphite.
The piece is about the interplay of its elements: the interplay of dark and light, glossy and matte surfaces, within the pulsing form of nested rectangles.
Abstract painting. Orange (left), red (right) and pink (bottom) bands painted with a zigzag pattern frame an abstract image in the center painted with vigorous upward strokes.
“Spirituality and feeling are the basic subjects of my work. They are depictions of intuitive expressions using color as language, and the landscape (God’s earth) as a metaphor for the arena of life. The revelation of a primal image that delivers an immediate response in the viewer is my goal. Hopefully my paintings convey a felt perception of life, an awareness of the history of art, and a clear expression of my passion and sense of spirituality. I sense a visual music that externalizes what I feel within me and in the air.” Artist’s statement on website (http://www.ronnielandfield.com/)
Hollow glass piece. The bottom half (whose end is flat and thus serves as a base) is a solid spring green separated by a band of translucent yellow. The top half is a darker olive green with a Kelly green stripe that winds from the yellow band at center to the hole at this end of the piece.
(Abstract, organic shape. Meaning of title is unclear. Perhaps taken from an anagram.)
Large stoneware abstract sculpture with two balanced lateral crescent-shaped forms branching off a central conical structure. Brown with loosely-painted broad brushstrokes in black and incised decoration of rows of dots in a “stitching-like” pattern
Drawing inspiration from Japanese ceramics, American Abstract Expressionist painting, and improvisational jazz, Voulkos pushed the limits of his medium and moved beyond the realm of the ceramic vessel to a new level of sculpted and painted ceramic form.
Inspired by the large-scale, unpremeditated form, free-energy and bold gestural strokes of abstract expressionism, his work became marked by mass and size, spontaneous form, and a bold, painterly use of glazes.
An explosion of colorful forms suggests the human form in dynamic movement. Yellows and reds predominate in shapes that draw the eye toward the viewer's upper right where three roughy triangular yellow shapes suggest a head and upraised arms.
Severini's treatment of a dancer in motion conveys the harmony and dynamism of the figure's movements rendered in a highly abstracted form.
Landscape painting featuring a row of trees in the middle distance, separating a glowing sky above and a meadow in the foreground.
Best known for his landscapes and seascapes painted in a Tonalist manner, Tryon’s paintings typically feature a broken row or group of trees in front of a lustrous sky at sunset or sunrise with a marsh or pasture in the foreground, painted in muted autumnal hues.
In “Twilight” Tryon depicts a wooded meadow veiled in the misty atmosphere of deepening twilight, dominated by muted grays, browns, and blues. Tryon studied in Paris and this work illustrates the influence the French Barbizon style of painting had on his work, with its emphasis on rural scenes drawn directly from nature accentuated by a sense of mood and shadow.