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By 1976 the White Cube aesthetic was being criticised by Brian O'Doherty as a modernist obsession. [1] In Inside the White Cube: The Ideology of the Gallery Space, [3] he argued that in an easel painting the frame was the window through which one saw the world, and that required a wall for context. When the frame is gone and the wall is white ...
Suprematist Composition: White on White (1918) is an abstract oil-on-canvas painting by Kazimir Malevich. It is one of the more well-known examples of the Russian Suprematism movement, painted the year after the October Revolution .
Minor Martin White (July 9, 1908 – June 24, 1976) was an American photographer, theoretician, critic, and educator. White made photographs of landscapes, people, and abstract subject matter. They showed technical mastery and a strong sense of light and shadow.
Abstract art uses visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. [1] Abstract art, non-figurative art, non-objective art, and non-representational art are all closely related terms. They have similar, but perhaps not identical, meanings.
Op artworks are abstract, with many better-known pieces created in black and white. Typically, they give the viewer the impression of movement, hidden images, flashing and vibrating patterns, or swelling or warping.
More images: 1901 to 1903 Akhtyrka, Park: Musée National d'Art Moderne, Paris 23.7 x 32.8 Oil paint on canvas board More images: 1901 to 1905 Binz auf Rügen (Twilight) Musée National d'Art Moderne, Paris 23.2 x 32.8 Oil paint on canvas board More images: 1902 Kochel, the Bridge: Stedelijk Museum Amsterdam More images: 1902 Spring, Vicinity ...
Abstract photography, sometimes called non-objective, experimental or conceptual photography, is a means of depicting a visual image that does not have an immediate association with the object world and that has been created through the use of photographic equipment, processes or materials.
The top half was a handwritten, stylized rendering of the poem's final three lines, and the bottom half was a visual element consisting of roughly rendered black ovoid and rectangular forms against a white background. [19] [20] The stark image was meant to "illustrate" the violent imagery of the poem in an abstract, non-literal way; Motherwell ...