Word: surrealistes
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Park, Diebenkorn and Bischoff regularly drew together from live models, eschewing abstract expressionism's notion of drawing "from the subconscious," a holdover from surrealist automatism. In a work of the '50s like Coffee, 1956, Diebenkorn smudged over or omitted facial features altogether. Bischoff harmonized roughly sketched figures and their environments in understated, cool-warm canvases like the perfectly composed Orange Sweater, 1955. Weeks, a billboard painter by trade, followed Park in destroying his earlier works, opting instead for abstracted figures rendered in big blocks of color...
...DADA AND SURREALIST WORD-IMAGE, Los Angeles County Museum of Art. Between 1915 and 1940, painters like Max Ernst and Paul Klee experimented by juxtaposing images with written words, permanently altering the vocabulary of visual art. This adventurous exhibition explores the relationship not only between word and image but also between language, art and psychology. Through...
...loved spontaneous gesture and the kind of unforeseen imagery that popped out of it. From the big red hand (of God?) that appears in Eden, 1956, to the shamelessly romantic sky space that hangs behind the lavender blobs of pigment in Sacrifice Decision, 1981, one sees traces of the surrealist ideas that had formed Pollock -- an openness to the kind of unsought private image that was generally barred from color-field painting. Frankenthaler disliked programs and was not a self-conscious avant-gardist...
...regularly denounced by Fascists and Stalinists alike as a decadent threat to youth. When he could no longer annoy either the bourgeoisie or the self- appointed guardians of the proletariat, he mortally offended the avant- garde by embracing Franco and the Pope, and was duly drummed out of the surrealist group...
Platoon was lucky. It dodged the bullets that Mississippi Burning has walked into. Nobody mistook it for a documentary. Few criticized it for ignoring or caricaturing the Vietnamese. Instead, Americans recognized and responded to the grandeur of its hallucinogenic fever. Platoon was crazy from the inside, a surrealist's scribbled message from hell. Parker's film is quite another thing: an outsider's report, not autobiography but psychodrama, with a texture as real as newsreel. And yet its plot skeleton bears similarities to Platoon. In both films, two strong men fight to establish American values in a hostile country...