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Showing 1-20 of 1125 results

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  1. Article
    Elissa Auther

    A good Hofmann has to have a surface somewhere between ice cream, chocolate, stucco, and flock wallpaper. Its colors have to reek of Nature – of...

  2. Article
    Emily Warner

    Space is not a static, inert thing. Space is alive; space is dynamic; space is imbued with movement expressed by forces and counterforces; space...

  3. Article
    Emily Warner

    What are Hans Hofmann’s legacies – his meaning, or meanings, for subsequent artists, historians and critics? If the answer is unclear today, it was...

  4. Article
    Emily Warner

    Hans Hofmann’s Pompeii 1959 (Tate T03256) met its first viewers in January 1960, at the Samuel Kootz Gallery in midtown Manhattan, as one of...

  5. Article
    Emily Warner

    How do we make sense of Hans Hofmann’s Pompeii 1959 (Tate T03256; fig.1) – a vibrating, flowering canvas, thick with accreted paint slabs and...

  6. Article
    Emily Warner

    New research into this key late painting by Hofmann considers its international reception in the 1960s, its relationship to the artist’s other ...

  7. Article

    We are grateful to Emily Warner for her development of this project, and to Elissa Auther for her valuable contribution to the research. Emily...

  8. Article
    Randall Edwards

    The world is a sphere, and that’s our boundary, our physical boundary. So we grow out of the studio. We could just spend our life widening our...

  9. Article
    James Nisbet

    Standing at one corner of his 50 x 100 ft (15 x 30 m) rectangle of baker’s salt in a large colour photograph in Tate’s version of Salt Flat 1968 ...

  10. Article
    John R. Blakinger

    In the brief introduction to Great Western Salt Works: Essays on the Meaning of Post-Formalist Art, his 1974 collection of essays that originally...

  11. Article
    John R. Blakinger

    In existing studies of Dennis Oppenheim’s Salt Flat 1968 (Tate T01773), and land art more generally, the sites the artist engages with are often...

  12. Article
    John R. Blakinger

    On 28 November 1968 Dennis Oppenheim spread one thousand pounds (454 kilograms) of salt over an empty asphalt parking lot at 6th Avenue between...

  13. Article
    John R. Blakinger

    This In Focus explores Oppenheim’s Salt Flat through the systems aesthetics of critic Jack Burnham, showing how the artist’s seemingly...

  14. Article

    We are grateful to John R. Blakinger for his development of this project, and to James Nisbet and Randall Edwards for their valuable contributions...

  15. Article
    Eugenia Bogdanova-Kummer

    Franz Kline’s relationship with East Asian calligraphy is one of the most contested aspects of the interpretation of his oeuvre, with critics...

  16. Article
    AnnMarie Perl

    The title of Franz Kline’s painting Meryon 1960–1 (Tate T00926; fig.1) is a homophonic pun. It arguably refers both to the nineteenth-century...

  17. Article
    AnnMarie Perl

    Franz Kline’s background in printmaking determined not only his artistic development, including his move to abstraction in the late 1940s, but...

  18. Article
    AnnMarie Perl

    If the notion of Kline’s ‘breakthrough’ of the late 1940s that has been so central to Kline studies is temporarily bracketed, it becomes possible...

  19. Article
    AnnMarie Perl

    Meryon 1960–1 (Tate T00926) brings the central problem in the interpretation of Franz Kline’s work into focus: in several senses, Kline’s ...

  20. Article
    AnnMarie Perl

    Franz Kline’s Meryon of 1960–1 (Tate T00926; fig.1) is a large-format, vertically oriented abstract oil painting on canvas that was executed in...

Showing 1-20 of 1125 results

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