DC -- Corcoran Gallery of Art -- Contemporary Galleries:
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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. " ") are described as follows:
CORCCO_131025_041.JPG: Willem de Kooning
Untitled IV, 1979
CORCCO_131025_061.JPG: Minimalism and Washington Color School:
This gallery features a number of works by artists associated with Minimalism. These artists adopted a pared-down approach to materials and form, and challenged conventions between painting, sculpture, object and dea [???] . Ellsworth Kelly's shaped canvas with Red Triangle, 1973, exemplifies his pursuit of reducing the visual world to its most basic components, aiming to create something new from the landscape and architecture of daily life. Martin Puryear's poetic and seemingly simple works draw attention to the interaction of solidity and light; his sculpture Blue Blood, 1979, essentially a line drawing in wood.
Gene Davis and Anne Truitt both worked for many years in and around Washington DC. Truitt's Insurrection, 1962, is a monumental painting in three dimensions while Davis's iconic stripe paintings have become emblematic of the Washington Color School. Working from the 1950s, this diverse group of artists abandoned representation and created works that command space with color and scale.
CORCCO_131025_068.JPG: Martin Puryear
Blue Blood, 1979
CORCCO_131025_076.JPG: Ellsworth Kelly
Yellow with Red Triangle, 1973
CORCCO_131025_084.JPG: Abstract Expressionism and Its Legacy:
In the 1940s and 1950s, artists including Willem de Kooning, Mark Rothko, and Jans Hofmann developed a form of painting referred to as Abstract Expressionism, or the New York School. Their work explored the energy, tension, and gesture of the creative process, and developed a new approach to the canvas itself which emphasized the relationships between color, line, and space.
This first generation of Abstract Expressionists had a tremendous influence on younger artists such as Grace Hartigan, who translated the gestural style into scenes of urban life, and Joan Mitchell, whose lyrical abstractions evoke the natural world. Mitchell's monumental and panoramic Salut Tom, 1979, named in honor of critic and curator Thomas Hess (a champion of Abstract Expressionism), mimics the landscape by enveloping the viewer in color and light.
CORCCO_131025_088.JPG: Mark Rothko
Mulberry and Brown, 1958
CORCCO_131025_097.JPG: Andy Warhol
CORCCO_131025_104.JPG: Lari Pittman
Reverential and Needy, 1991
CORCCO_131025_109.JPG: Raymond Saunders
Red Star, 1970
CORCCO_131025_122.JPG: Robert Morris
Private Silence/Public Vengeance, 1989
CORCCO_131025_126.JPG: Robert Colescott
Auvers-sur-Oise (Crow in the Wheat Field), 1981
CORCCO_131025_214.JPG: Materiality and "Building" an Artwork:
This gallery features artists whose methods and materials are central to the meaning of their finished work. In the 1960s, Lee Bontecou developed a new way of thinking about what a painting could be by building a canvas and wire structure that asserts itself into the space of the viewer. Terry Winters and Jonathan Lasker each explore paint as a medium -- creating compositions that emphasize pattern, brushstrokes, and a rudimentary sense of depth. Sean Scully's Flyer, 1986, expands painting's field of reference, mimicking architecture in its scale and structure. More recently, Rob Fischer's sculpture of glass, metal, and paint demonstrates an ongoing concern with materials and construction.
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