Word: abstractedly
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Dates: during 1960-1969
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...show was hard to digest, and the contents even harder. When the 1961 Pittsburgh International Exhibition of Contemporary Painting and Sculpture opened at the Carnegie Institute last week, it put on display 329 paintings and 116 sculptures by 441 artists from 29 countries. Most of the work was abstract, with each abstractionist striving for some idiom of his own. This striving, which in a one-man show often makes each work seem like every other, has the opposite effect in a group show like the Carnegie's. There the effect is not of monotony but of sense-assaulting variety...
Powerful Paintwork. Russian-born Jules Olitski, 39, studied portrait painting at the National Academy of Design in Manhattan, went to Paris on the G.I. Bill and worked under Ossip Zadkine, now lives in Northport, Long Island. His work has gradually become more and more abstract, but even as he retreats from reality, he manages to put into his canvases the throb of life. His winning work (see color) expresses to him "the intense silence of a kiss," which accounts for its improbable title. It is more successful not as an expression of emotion but as a powerful piece of paintwork...
...Daily Princetonian's disdain for abstract education policy articles and its predilection for student reaction are other examples of the same type of phenomenon. The editors alone are not responsible for the Princetonian--the credit and blame lie far deeper, in the forces shaping the college itself...
...foremost sculptor, but until now U.S. gallerygoers have been able to see bits of his work only in large group shows. Last week his first U.S. one-man exhibition opened at Manhattan's Staempfli Gallery. Whether a head, a torso, a bird-like creature, or some abstract shape borrowed from nature, Heiliger sculptures have one common quality: though the artist's hands left them long ago, they still seem to move and change and grow, as if there were something alive inside...
Some critics have compared him to Britain's Henry Moore, but the chief similarity is that both men find their basic inspiration in the human body. Even when Heiliger is at his most abstract, his work gives a strong sense of life. His heads are not only striking portraits, but pieces of humanity stripped to the bone. Some of his torsos give the eerie impression that they are just being born. In his group sculptures he is able to play off his figures in such a way that they all seem to be engaged in some imperceptible dance, weaving...