What many casual observers of abstract art don't understand is that abstraction doesn't mean a jumble or confusion or haphazard swiping of paint on a surface. The essential trait is an underlying structure that lends even the headiest or seemingly most chaotic work - for example, pieces from the classic period of American Action Painting by Jackson Pollock or Willem de Kooning - a sense of strength and inevitability. Perhaps only the artist truly comprehends that structure's subtlety or full import . Such thoughts arise from looking at abstract paintings displayed this month at local galleries. Let's begin with Lisa Weiss at L Ross Gallery, through April 30. Called "Common Thread," the exhibition includes five pieces by Lisa Weiss' father, Anton Weiss, a distinguished abstract artist wh...
Every year on Labor Day, we run a collection of statistics about American workers - average salaries, unemployment rates, benefits, that sort of thing. We recently started collecting data for this year's package, and one of the first places we turned was the 2011 "Statistical Abstract of the United States" compiled by the U.S. Census Bureau. People of a certain age might recall having seen that monstrously large compendium on a shelf in the library reference room. It contains information about every facet of American life and makes for fascinating page flipping.
When abstract art first came on the scene, it was not appreciated by everyone. Cartoonist Al Capp, creator of Li'l Abner, had this to say: "Abstract art? A product of the untalented, sold by the unprincipled to the utterly bewildered. But if he was not alone in his opinion, there were growing numbers who saw in abstract art what one critic called "a visual language of form, color and line," used to create "a composition which may exist with a degree of independence from visual references in the world."
Two different looks at what abstract art can mean - one from the middle of the last century, one contemporary - will be on display at the Museum of Latin American Art in Long Beach, beginning Feb. 25 and continuing there through the end of May. The two simultaneous shows will allow museum-goers to experience two very different, but still related, ways of seeing the world through abstract art.
Social well-being. Talk about a subject that's tough to get your arms around. Of all the areas that Dream City: Vision 2020 focused on, social well-being may seem the most abstract.
Ryan Keene's installation "Abstraction (Oscillator #1)" consists of numerous audio speakers rigged onto a framework of copper pipes and clamps and facing the wall. A web of colored wires connects the speakers to receivers sitting on the floor. The sounds simultaneously emanating from the speakers are hard to identify: They might be the hum of traffic, the strumming of a guitar, static, a radio picking up a few weak signals. This sound abstraction cleverly echoes the exhibition's theme: The speakers "turn their backs" to us and create unidentifiable noise. It is not a stretch to imagine that the artwork addresses our plethora of media, and the meaninglessness that results from such oversaturation. Connie Cantor thoughtfully used the happy accidents created by people testing pens in an of...
Ten Revolutionary Works of Art Make Debut as Postage Stamps BUFFALO, N.Y., March 11 /PRNewswire-USNewswire/ -- The U.S. Postal Service today honored the artistic innovations and achievements of a group of artists who moved the United States to the forefront of the international art scene with the release of the Abstract Expressionists commemorative postage stamps. The vibrant stamps feature works by Hans Hoffmann, Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell, Adolph Gottlieb, Arshile Gorky, Willem de Kooning, Jackson Pollock and Joan Mitchell.
Phalaenopsis orchids are native to Southeast Asia and are said to resemble moths in flight. O'[Neill]'s "Phalaenopsis 1" is a naturalistic 12-by-12-inch oil on canvas portraying one such white blossom on a silvery gray background. The remaining seven pieces are of the same scale and composition - with the flower's vertical stem down the left half of the picture - but the images are progressively more abstract. The lines in "Phalaenopsis 2," for example, are more languid, and a complex harmony of pink and turquoise fills the background. As the series progresses, O'Neill's emphasis shifts from simply rendering the flower to practicing greater chromatic experimentation. Similarly, his best figurative works are the most abstract. In the 24-by-30-inch male nude entitled "Matt," O'Neill's app...
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