Exposition Art Blog

Francois Morellet - Minimalism and Conceptual art

François Morellet (30 April 1926 – 10 May 2016) was a French contemporary painter, sculptor, and light artist. His early work prefigured minimal art and conceptual art, and he played a prominent role in the development of geometrical abstract art.
For Morellet, a work of art referred only to itself. His titles are generally sophisticated, show some word play, and describe the "constraints" or "rules" that he used to create them. Like other contemporary artists who use constraints and chance (or the aleatory) in their works (John Cage in music, the Oulipo group in literature), Morellet used rules and constraints established in advance to guide the creation of his works, and also allowed chance to play a role in some of his compositions.

Jesus Rafael Soto

"Energy is one of the most striking elements of Soto's work and his experiments with optical effects are representative of some of the most successful of the Op Art-Kinetic Art movements. Soto's work, however, surpasses the mere exploitation of optical effects and he presents in his paintings a concentration of energy which attain a point where the paintings become a mirage, kinesthetically like a mental tension.Soto's use of the moire effect plays a prominent role in his early works of transition from the tradition of hard-edge abstraction founded by Modrian to the more fluid expression he presently uses. The influence of Modrian's balancing of lines and composition can be found in Soto's work, with Soto's added touch of a personal search for an art which would be its own master, wholly independent of the natural world, an attitude reflective of Modrian's.
Soto's work with identical and multipliable elements was aimed at reducing the sign to total anonymity, in the effort to get away from subjective art. When the transition to kinetic art came Soto's way in 1955 he began to make plexiglass superimpositions. Spirals traced upon perspex were superimposed in depth. The optical effect that resulted was in the relationship between the surfaces. Soto's painting began to emerge and assume a sculptural dimension when he suspended wire and rods of metal in front of the background. This striping of the background seems to create the effect of attacking and partly absorbing the forms which are placed in front of it. Soto's work established a concrete relationship with the viewers perception as disconcerting and fascinating as a mirage."(rogallery.com)

Patrick Heron - Modern British Abstract Art

Patrick Heron (30 January 1920 – 20 March 1999) was a British abstract and figurative artist, critic, writer, and polemicist,who lived in Zennor, Cornwall.Heron was recognised as one of the leading painters of his generation. Influenced by Cézanne, Matisse, Braque and Bonnard, Heron made a significant contribution to the dissemination of modernist ideas of painting through his critical writing and primarily his art.Heron's artworks are most noted for his exploration and use of colour and light. He is known for both his early figurative work and non-figurative works, which over the years looked to explore further the idea of making all areas of the painting of equal importance....Heron used that most rare and uncanny of gifts: the ability to invent an imagery that was unmistakably his own, and yet which connects immediately with the natural world as we perceive it, and transforms our vision of it. Like those of his acknowledged masters, Braque, Matisse and Bonnard, his paintings are at once evocations and celebrations of the visible, discoveries of what he called "the reality of the eye"Wikipedia


Franz Kline - Abstract Expressionist and Action Painting

Franz Kline was born on May 23, 1910, in Wilkes-Barre, Pennsylvania. He studied painting and drawing at Boston University (1931–35), and drafting and illustration at the Heatherley School of Fine Art, London (1937–38). After returning to the United States, he settled in New York, where he produced traditional cityscapes and interior scenes and, in the early 1940s, won awards at several National Academy of Design Annuals.Kline soon began experimenting with small black-and-white brush drawings after Willem de Kooning introduced him to abstraction. At the end of the decade, De Kooning’s use of a Bell-Opticon projector inspired Kline to project his brush drawings onto his studio wall, transforming them into large-scale ideograms. These experiments marked the beginning of Kline’s characteristic abstractions incorporating powerful lines and rapidly developed gestures of black paint on white ground. Compositions such as Wotan (1950–51) prompted speculation about the influence of East Asian calligraphy on Kline’s practice; he denied these claims, stating that he fully intended the images to evoke the known or recognizable while avoiding literal references. Kline employed intense tonal contrasts, often working at night under strong light. His use of housepainters’ brushes produced tiny splatters and inflections on the canvas that enhanced the explosive quality of his black lines.(guggenheim.org)