![]() Small, historic and highly informative, this tastefully displayed exhibition offers a close-up look into a pivotal development in 20th century photography. The experimental cropping and novel tight close-up framing of his subject’s details (graffiti markings and the peeling paper of an old poster) in Aaron Siskin’s “Chicago 22” deliberately evoke an association with the paintings of the photographer’s Abstract Expressionist peers and friends, who included Franz Kline and Mark Rothko. Rather hers and other’s in the show use then new equipment such as enlargers, and experimental darkroom manipulation techniques such as duotone and solarization to make explosive and lyrical gestural marks of light that stand alone as finished works of art. Several, such as Morgan’s 1940 light drawing, titled “Samadhi,” eschews recording real world objects as their subject matter altogether. The exhibition offers an all-star cast of mid-century modernist masters, including Minor White, Barbara Morgan, Frederick Sommer, Arthur Siegel, Aaron Siskind, Brett and Edward Weston, Walter Chappell and Edmund Teske.Ī chiaroscuro-laden, geometric and/or organic driven energy aligns itself, pulses and swirls in many of these (mostly) black and white works. “Beyond the World We Know” presents 16 such artists, who successfully expanded photography beyond its discursive documentary idiom into the more subjective and poetic realms of abstraction, symbolization and self-expression. Fine art photographers during the mid- to late-20th century, before the primacy of digital cameras, labored earnestly to integrate the non-representational visual vocabulary of abstraction into their work. The camera’s capacity to produce images beyond what the eye exactly sees is now universally avowed to the point of being taken for granted. The painter as a kind of dancer whose movements in front of theĬanvas are recorded in time and space.Barbara Morgan, “Samadhi,” 1940, gelatin silver print, 17 x 14 1/4”. Referred to as action paintings, because we can almost imagine If we look here, we findĪ much warmer white color. Giving and going, if you will,īetween these two colors. Kline’s work, so apparently spontaneous or impulsive in its. Black Reflections, an intensely colored small work on paper, may in fact relate to an earlier black and white piece. He later taught at a number of institutions including Black Mountain College in North Carolina and the Pratt Institute. This is actually black on white, but then white back on top of the black, black back on top of the white again. Mixed media: Oil and pasted paper on paper, mounted on masonite, 48.3 x 49.2 cm. (jazz music) It's still one layer more complicated because this is not simply black on white. ![]() Transferred those sketches onto this large scale painting, again with fast dripping enamel paint. Kline made abstract sketches and then quite carefully Which looks very spontaneous, looks like it perhaps could haveīeen done in just half an hour, maybe even less, actually was the result ![]() Going to become an abstract painter it did not mean that he (jazz music) When Kline decided that he was Language that he wanted to pursue was based on that figure on ground, or in this case, black on white. It was a transformative moment for Kline. Of his source material, again drawings and the numbersĪnd letters in a phonebook. Instead, he abstracted black on white, or in that case yellow in the phonebook, abstracted images out Numbers and letters of the phonebook page. When he projected these onto the wall, he realized that they're so large that These chairs, if you will, on the pages of a phonebook. Kline, along with other action painters like Jackson Pollock, Willem de Kooning, Robert. He is associated with the Abstract Expressionist movement of the 1940s and 1950s. Franz Kline ( May 13, 1962) was an American painter. Something that could enlargeĪ drawing or photograph many, many times, up to Franz Kline, Painting Number 2, 1954, The Museum of Modern Art. Paintings of things like furniture, chairs for example. Learn that just two years prior to the making of this painting, Kline spent most of his time in the studio making figurative drawings and (jazz music) Looking at Franz Kline's paintingĬalled "Chief" from 1950. Of paint that could be pulled across the canvas withĪ brush with this paint, because it is such a low viscosity paint. Very seductive to Kline, in addition to the viscosity Looking at the paint in the can, it looks quite differentįrom artist quality paint. How about the material itself? Let's take a look in the studio. Got some more house paintĪnd went back to work. The next day Kline came in and said, "What is all this?" Took it out of there. With Winsor Newton fine art grade paints. To break into Kline's studio, take all of the house paint and replace it Looking for fine art prices, not hardware store prices. Now, Sidney Janis, his gallerist,ĭidn't like that idea so much, perhaps because he was Had started selling some paintings, making some money, he had been working almostĮxclusively with house paint. (jazz music) Voiceover: Around 1960, when Franz Kline
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