Word: expressionistic
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Dates: during 1970-1979
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...PAINT a picture like this required Olitski to paint his way through years of difficulty. The earliest paintings included in the show are a whole room full of small works which look like abstract expressionist paintings, but were executed by building up the surface as much as three inches with spackle. The effect is that of stale cake frosting, limited to three colors -- charcoal, sickly pink, and dirty white -- knifed or squeezed onto the canvas. The paintings suggest parody of the rough, sculptural brush work of De Kooning, at the same time evidencing an interest in the ease with which...
...Pollock's and the first to seize upon his innovations, has been subjecting his work to constant refinement in the years since his and Pollock's first drip-paintings in the late forties. His recent show earned him long-deserved critical acclaim for a style that continues the expressionist tradition at a high level of formal competence...
Both artists stay close to the broad traditions of surrealism and Expressionist social commentary. Neither cuts any new stylistic paths, but both are competent enough to produce well-finished convincing prints...
...absurdity." The form of her later pieces-ragged sheets of latex, irregular fiber-glass cylinders strewn at random on the floor, tangled webs of rubbery cord hanging from the ceiling like a three-dimensional version of Pollock drips-is partly an effort to give sculpture the fluidity of abstract-expressionist painting and partly a direct celebration of incongruity. Decoration, she believed, was "the only art sin." It was not a peccadillo she ever committed: ugly, difficult and raw though Eva Hesse's work is, it constitutes one of the most forthright statements in 1960s art. ·Robert Hughes
...case in point is Sam Francis. It is hardly an exaggeration to say that in the early '50s he provided Europe with its first intimations of those U.S. Abstract-Expressionist characteristics that would colonize Paris and London by the decade's end: the glowing, saturated color, the vigor of handling, the expansive scale. Yet Francis, who moved to Paris in 1950 and took Europe as his ground (with much traveling in Mexico and the Orient, especially Japan), suffered the common fate of Homo transatlanticus: rebuked for his Frenchery, he was nudged to the outside rim of the Abstract...