Word: pigmental
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...flushed legs on the sand. With a handful of minor exceptions, De Kooning's paint work manages to avoid the rather flaccid, glutinous and mushy quality it assumed in the middle '60s; his gestures occupy a curious middle ground between bravura swipe and pastelly softness, and the pigment oozes suggestively, a matrix of wavering depths. The sum effect is of sensual chaos, but modified with knowing flicks and placements: sprawl as form, luscious and-despite all the turbulence on top -lazily seductive. They are among the most accessible canvases De Kooning has made...
...viewer in a field of color-but also in their light and density of surface. Resnick is a quite traditional painter, to the extent that he works in intimate, stroke-by-stroke contact with his painting. Brush marks pile on one another, forming a layered web of minutely graded pigment. (Some times the crust gets so thick that it is physically unwieldy: one large canvas in the show, Pink Fire, has 450 lbs. of paint on it.) The effect is not of a grand abstract-expressionist gesture, but rather a quiet, inexorable accumulation of incidents...
...qualifications. These nuances constitute a structure. Resnick's paintings, unlike those of some so-called "lyrical abstractionists" 20 years his junior, never go soft or flossy; they are controlled by an iron will to form. Except that the forms do not become explicit; they remain stored in the pigment like warmth in stone. · Robert Hughes
...sentient presences. Some of this comes through in paintings like Star-Weaver, with their panoramic veils and zigzags of light, their flecks of paint that suggest flowers, mica deposits or dust: a soft immanence, vulnerable and pantheistic. Unfortunately, Wofford overworks his paintings. The light stiffens into crusts of inert pigment. But if the picture surface is sometimes cluttered, the effort to complicate it remains salutary and even brave...
...fooling that, after a while, analysis stops; instead, one submits to the pressure of light that emanates from the field. Color becomes an absolute phenomenon; it needs to depict nothing to reveal its action. It may be that no American painter since Rothko has contrived to transform pigment into meditation more effectively than Zakanych. "I got completely sick of all the cool, boring, systematic painting that was around in New York a few years ago," he says. "I'm trying to break that down." And, it seems, succeeding...