Word: abstract
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There are two kinds of painting in it: straight and plate. The straight paintings-pigment on canvas-are the weaker and look like nth-generation abstract expressionism, which, in fact, they are. Their grid and curlicues come out of Matisse via Richard Diebenkorn, suffering indignities in translation: the drawing is sloppy, the color mud. There are also some steals from Robert Motherwell, in the form of maps of Europe with overpainting. Such work is homage rendered as cliché; but then Schnabel's reputation rests more on his plate paintings, layer on layer of broken crockery combined with things...
Where the [Gen Ed] program had attempted a broad, survey-like introduction to all the major areas of knowledge, the Core isolated certain ways of tackling problems in different areas and required students to learn these, not in some abstract way but by actually wrestling with and working through selected sets of problems...
Noyes, who died in 1977, also developed a logo for Mobil with Chermayeff & Geismar Associates. This firm also created the fetching, letterless, four-color octagonal trademark for the Chase Manhattan Bank, probably the first completely abstract logo, whose design, says Chase, is supposed to "convey a sense of dignity and the dynamic purpose of the bank." The versatile and famous CBS eye was developed by Bill Golden, art director at CBS for 19 years. Currently, the leading imagemakers are Lippincott & Margulies, who created the Xerox logo and claim authorship of more than 2,200 others, including Uniroyal, RCA and ChemBank...
Welliver's kind of realism could have matured only in the past 25 years A.P.-After Pollock. His paintings are saturated with the ideas about surface and space that abstract paintings put into currency in America. They have less to do with locating a set of objects in the illusion of a void than with creating a continuous pelt of shapes that fills the surface from edge to edge, top to bottom. With 19th century landscapists like Bierstadt or Corot, one is softly inducted into the illusion. Welliver points out, 'You can really just enter into...
What detains the eye in a Welliver is, in part, his assertion of "abstract" readings within a very forthright and apparently realistic transcription of raw nature. Typically, his spaces are shallow and entangled. You are on the forest floor, in a cavern of green and gray, gazing at an almost impenetrable screen of slender tree-trunks, fallen branches, brush, lichens and rocks. There is no horizon line to offer visual release: just more forest, dappled and blotched with light. The surface is not oppressively congested-for at his best, in paintings like Late Light, 1978, or Shadow, 1977, Welliver...