Showing posts with label color field. Show all posts
Showing posts with label color field. Show all posts

when sculptures become buildings

julian opie
vs.
anne truitt
vs.
renzo piano










































Having taken off from the houses, trees, fences, and fields of my childhood...
I very soon found that I was leaving the literal object behind...
I discovered form and color, and ultimately to the work
I am doing now, at once more austere in structure and more expressive in color....

Anne Truitt on form and color, May 3,1975

























"Project architect and associate Maurits van der Staay, describes the placement of each colour (there are six different colours, including grey and light grey) as “informed random”.

He says it was Renzo Piano’s ambition to “make a joyful building in contrast to the surrounding grey stone and red brick by fragmenting the colour”. The process has been a little like working out a very complicated seating plan and has taken months of manipulating physical models to ensure the same colours never appear next to each other , that they relate appropriately to the surrounding buildings, and that each facet is positioned at the correct angle."


read more here..















julian opie
vs.
anne truitt
vs.
renzo piano
"Its power lies in its use of color."


"He was one of the great colorists of the 20th century"







cadmium radiance 1963

kenneth noland...






from ny times article,
by william grimes.

"With the rise of Pop Art, Minimalism and postmodernism Mr. Noland’s work, with its formalist rigor, fell out of critical favor. “Starting in the 1970s, there was a terrific reaction against Color Field painting and abstract art in general, which was in turn a rejection of Clement Greenberg,” said the art historian and critic Michael Fried, who organized the exhibition “Three American Painters: Kenneth Noland, Jules Olitski, Frank Stella” at the Fogg Art Museum at Harvard in 1965. “He remains a great painter.”

Mr. Noland continued to pursue his high modernist program, undeterred and confident about the future of abstract art. “It’s a fertile field that we barely have explored, and young artists will return to it,” he said at a symposium in 1994. “I’m certain.”