Word: painted
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Dates: during 1970-1979
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...circuit was slightly more respectable and much more lucrative. Today, attracting more than 1,500,000 spectators a year to modern high-banked tracks, drivers pad their earnings by turning their cars into billboards on wheels. This year Richard Petty reaped a reported $500,000 for agreeing to paint the sides of his car STP red. Not a total sellout, he insisted that the top remain Petty blue...
...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...
Olitski's "break-through" -- the sudden leap from mediocre early work so characteristic of modern painting -- occurs in 1964 with paintings like Deep Drag. Here Olitski turns to a rectilinear ordering of the forms: the circles are still there, but they have been driven to the edges where they interact with long, brushed forms to shape out a composition clearly accepting the limits of the frame. (Eventually those circles will be reduced to thumbprints on the smooth field, and finally can be observed as mere drops.) Olitski's characteristic banishment of all drawing to the edges of the canvas appears...
...MATURE" works -- from the late sixties to date -- Olitski creates paintings that are models of what a good abstract painting should be. The problem of uniting form and content, honesty and illusion is made almost symbolically explicit by the use of the inner color field and its surrounding borders. Each of those elements, in turn, has both a formal and a sensual function. The formal solution of drawing at the edge of the canvas satisfies a felt need to reflect the frame in the structure of the painting, but also allows old style, "painterly" handling to survive. (The styles...
...addition, he conquers many of the problems of scale which have bothered some other abstractionists, particularly Kenneth Noland. Abstract pictures have usually been able to be successful only on enormous canvases; Olitski works equally well in room-sized paintings and in small ones. His spray technique has a finer grain, so to speak, than staining or brushing, and it creates surfaces which because they cover the canvas completely are not immediately scaled by the weave of the cloth. And in his paintings of this year and last, particularly the Other Flesh series, he employs rollers and sponges with a syrupy...