Word: spatial
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Dates: during 1960-1969
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...hover and float* above their pedestals, attached by almost imperceptible nylon strings. The effect is playful and magical-rather like Collie himself, who combines the hot-eyed zeal of a young Merlin with the twinkle-eyed grin of a boy with a toy. Collie, 25, calls his works spatial-absolutes: spatial because they are floating in space, absolute because "the true essence of a shape, its 100% value" can be fully experienced and appreciated only when it is lifted from its base...
Collie's spatial-absolutes represent a marriage of technology and art, but science is clearly the stronger partner. Yet Collie insists that he is no technological faddist catering to a novelty-hungry art public that is ready to pay $1,000 to $3,500 for his floating sculpture. In his obsession with simplicity and freedom of form, he argues that his shapes "derive from Brancusi. If he were alive today, he would have released his Bird in Space and freed the Fish to swim. He simply lacked the technology that we have today. His work implies flight." Collie promises...
...Rites of Spring" sequence for Fantasia. After the war he supervised production of the UPA greats, including Tell-tale Heart and In Henry's Backyard, as well as McGoo and McBoing-boing. And he has pioneered the development of cell "animage" techniques for graphically rendering human motion and spatial depth...
...oils, done between 1905 and 1908, show keen insights and rhythmic vitality in a self-assured style, but offer little indication of the plastic purist he was to become (through May 23). For that, see "Mondrian, De Stijl and Their Impact," at Marlborough-Gerson, 41 East 57th, where his spatial austerity and its potential for beauty is fully realized in his own and in the works of 22 followers. Through...
...picture and the viewer. Mondrian's late paintings can be seen as the visible imprint of an invisible pattern surrounding the viewer. Even the walls of his stark studio were hung with movable panels that he rearranged to suit his desire, in effect making the studio a spatial work of art. Van der Leek used white in his work not as background but as space that separated his flecks of color, like atoms locked together in the Tinker Toy of their own energy...