Abstract expressionist painting in pink, black, green and ivory, with squares pressed into the paint while wet to make an impression.
Goldberg was influenced by the gestural Abstract Expressionist mode of older painters like Franz Kline, Clyfford Still and Willem de Kooning. The improvisational nature of jazz was also important to his work.
Huebler depicts a montage of elements directly cited from or reminiscent of iconic paintings of the Italian Metaphysical School of painting, 1913-20. Forms of Renaissance architecture, perspective space, and sculptural objects are arranged in a surrealistic dream space.
This study of a male nude set within a niche combines a skilled portrayal of anatomy with a powerful evocation of movement and emotional intensity. Through the carefully rendered arms and swirling draperies the artist expands and animates the space around the figure, who seems to surge forward even as he turns his head back in a gesture of despair.
The intricate pose and dramatic elaboration of each element of the nude's body--the well-muscled torso, the foreshortened arms, the striding legs--give the figure a striking yet overwrought quality. Such excessive complexity was appreciated in the period as a sign of creativity and a conspicuous display of artistry. The self-conscious cultivation of artistic difficult seen in this drawing was a key feature of a style popular in the mid- to late sixteenth century that scholars have termed Mannerism.
Square composition with large gray area and the remaining area has a series of curvilinear, multi-colored stripes. The largest stripes are yellow and straight- one runs from the lower left corner and tapers off in the upper right corner of the square; the other runs from the upper left corner and tapers off in the lower right corner. The other stripes, in shades of orange, red, blue and purple, radiate from the yellow stripes like the spokes of a fan.
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)
This black and white print depicts geometric forms arranged to suggest some kind of mechanical contraption. Two larger circular forms are arranged side-by-side in the center of the composition. A line rest diagonally atop these forms and above the line an assortment of circular and less definite shapes and textures (depicted with cross-hatching and other techniques) are described. The print is imbued with a smoke-like atmosphere as a result of the spitbite and aquatint.