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Showing 1-20 of 146 results

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  1. 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...

  2. 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 ...

  3. 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...

  4. 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...

  5. 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...

  6. 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...

  7. 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...

  8. 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...

  9. 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...

  10. 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...

  11. 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...

  12. 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 ...

  13. 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...

  14. Article
    AnnMarie Perl

    This In Focus reveals how Franz Kline’s Meryon allows us to rethink several well-known and revisionist ideas about abstract expressionism,...

  15. Article

    We are grateful to AnnMarie Perl for her development of this project, and to Eugenia Bogdanova-Kummer for her valuable contribution to the research...

  16. Article

    We are grateful to Anna Arabindan-Kesson for her development of this project. The author would like to thank the following people for their...

  17. Article
    Anna Arabindan-Kesson

    It hardly needs to be said that Barkley L. Hendricks’s portrait paintings have a timeless quality, perhaps owing to his meticulous attention to...

  18. Article
    Anna Arabindan-Kesson

    In Family Jules: NNN (No Naked Niggahs) (Tate L02979; fig.1) Barkley L. Hendricks draws on his aesthetic of assemblage to recreate the space of...

  19. Article
    Anna Arabindan-Kesson

    Barkley L. Hendricks’s work has been compared to the realism of artists like Philip Pearlstein and William Bailey, both of whom were included in...

  20. Article
    Anna Arabindan-Kesson

    While certainly embodying the spirit of the phrase ‘black is beautiful’, in Barkley L. Hendricks’s Family Jules: NNN (No Naked Niggahs) 1974 (Tate...

Showing 1-20 of 146 results

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