![]() ![]() “And I tell them, ‘Well, no, actually, it’s just that occasionally I speak on my sketch pad.’” “People from the village come up and tease me: ‘We hear you’ve started drawing on your telephone,’” Hockney wrote in a catalogue for the de Young Museum. Using his iPad, a stylus, and the Brushes application, Hockney creates vivid landscapes “painted” outside, or en plein air. Pollock, Frankenthaler, Klein, and Close may have created paintings without a paintbrush, but pop artist David Hockney makes paintings without any paint. Afterwards, Hammons would sprinkle powdered pigments on top of the support, which would stick to the grease and reveal the image. Hammons often used his own body as the brush, covering himself with grease or margarine before pressing his form onto a surface. In the 1960s and ’70s, American artist David Hammons created his own series of body prints, using the technique to comment on the Civil Rights-era race riots in the U.S. The performance lasted for 20 minutes, followed by 20 minutes of silence. Behind them, Klein conducted a 10-piece orchestra, playing the one-note Monotone Silence Symphony, written by the artist himself. ![]() The women then proceeded to create imprints of their bodies on giant pieces of paper, which were arranged on the walls and floor of the gallery. First held at the Galerie Internationale d’Art Contemporain in Paris in 1960, Klein’s performances (now considered by many to be outrageously sexist) featured nude female models-who the artist referred to as “human paintbrushes”-rolling themselves in his patented International Klein Blue paint. More recently, the British artist Ian Davenport has poured stripes of paint down canvases using syringes, letting the colors mix and pool together towards the bottom of his abstract paintings.Įxposing the artistic process even further, the French artist Yves Klein produced his “Anthropometry” paintings in front of an audience. Instead of resting on top of the canvas, the paint in this image stained the canvas-a significant feat in an era when avant-garde artists were fascinated with the flatness of painting. This effect inspired the art historian Sandra Zetina, along with physicist Roberto Zenit, to recreate Siqueiros’s painting process in the lab, publishing her findings just last year in an essay titled “ A Hydrodynamic Instability Is Used to Create Aesthetically Appealing Patterns in Painting.”įrankenthaler pushed this technique one step further in 1952 with her pivotal work Mountains and Sea, for which she applied thin washes of paint to an unprimed canvas. His technique of “accidental painting” involved spilling different colors on top of one another so that the paint would coalesce into unexpected, swirling patterns on the picture’s surface. “Technique is just a means of arriving at a statement.”Īt the Experimental Workshop, Siqueiros also pioneered a method of pouring paint directly onto the canvas. “It doesn’t make much difference how the paint is put on as long as something has been said,” the artist once explained. Placing canvases on the floor, Pollock would incorporate metal rods, kitchen tools, towels, and sticks into his painting process, though these tools rarely touched the canvas directly. Pollock’s splatter and drip technique, with its explosive results, captured the curiosity of the American public, especially after the photographer and filmmaker Hans Namuth published footage of the artist at work in his Long Island studio. Japanese Zen Buddhist painters, for example, experimented with splashed ink as far back as the 15th century, long before Pollock created his first action painting in the mid-1940s. In February of 1956-exactly 20 years after the Experimental Workshop- Time magazine nicknamed Pollock “Jack the Dripper.” But while the artist may be most famous for flinging pigments across canvases, he was hardly the first to do so. ![]()
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