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#non objective
cryrabbitcry · 2 months
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Chivito
11x14” mixed media
R.A.Young 2024
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cyndee51 · 3 months
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Interior design with color field art by C.Millichamp
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optikes · 10 months
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an Australian painter in the streets of New York...
John Firth-Smith (born 1943) Australia
1 White Street # 3 (1982) acrylic on stretched 300gsm rag paper, 104cm x 104cm
2 Black Street # 27 (1982) pulp paper and mixed media, 35cm x 35cm
3 Place, Orientation and Navigation (1983) oil on linen 305.0 x 335.5 cm
4 Winter Rounds (1982)
5-7 the artist connecting dots & lines in New York
8 the artist’s photo-documentation of line and shape on New York streets
9 Marshall Islands stick chart
A   Professor Peter James Smith   from  menziesartbrands.com
In 1981 John Firth-Smith travelled to New York to experience the city, to paint there as a local and allow the powerful New York art scene to wash over him. It was a time in the city (that the writer experienced first-hand) when graffiti clogged West Broadway and adorned the walls of the cross-town subway platforms. The locals were producing abstract paintings that had active, brushy surfaces. The curator Barbara Rose, in 1979, produced a show of such work called American Painting: The Eighties that looked like Abstract Expressionism with a college education, and heralded the rise of art stars Susan Rothenberg (1945- ) and Elizabeth Murray (1940-2007). It was the perfect time and place for Firth-Smith’s painterly surfaces to evolve.
From his studio on 20th Street, Firth-Smith could look down on the first winter snows in the city. In the early morning the snow appeared as a soft white blanket, a shroud that covered everything, but later in the day it was stained and marked by the black tracks of car tyres and the footfalls of passers-by. He became fascinated by the ethereal gothic nature of what he saw: steaming ventilators were often to be found in the middle of busy streets, their smoke stacks rising through the traffic, their warmth contradicting the presence of winter snow and sludge. Such is the sensibility that is vividly painted in Winter Rounds 1982, an attractively-proportioned canvas that effortlessly supports the New York dynamic.
Winter Rounds 1982, is ingrained with the gritty, wintry ambience of the city. Like schematised patterns taken from a subway map, or a diagram drawn in an attempt at directing a stranger, there is a frenetic congested intensity in the work that is broken by dots and splashes of colour.’
This painting shows Firth-Smith’s familiar arabesque line, sweeping through the rising red veils of smoke and graffiti, to challenge the gridded infrastructure of the city. Notions of infrastructure usually revolve around trains, bridges, roads and buildings; however with a different kind of infrastructure in mind, the artist deploys a series of connected straight lines and dots to the heart of his picture. In his monograph on Firth-Smith, writer Gavin Wilson describes how the artist had become fascinated with the Victorian cast iron manhole covers found at street level. They often had elaborate decorative surfaces and had holes drilled through them. Firth-Smith tied small weights to the ends of strings, and dropped the weights down the holes making the strings pull tight between the holes; so the sequences of dots and connected lines were born. He later photographed these microcosms, and like an industrial espionage operative, these found their way into his painting process. Ironically, these patterns are reminiscent of stick charts from the Marshall Islands – structures formed by tying small sticks in a gridded pattern to represent the sea, with shells knotted at the intersections to represent the locations of islands. The sea is never far away from the artist’s concerns.
Only in New York could Firth-Smith have had such fertile exposure to the early stages of neo-expressionism. He embraced many deterministic methods of applying paint with drawn lines and dots, then overpainting, then re-positioning more gridded lines and dots; but these methods always relied on chance and randomness. He painted and repainted layer upon layer. ‘The effaced surfaces of the completed work were like a palimpsest, leaving only the faintest trace of his earlier marks.’  It is the beauty of those effaced surfaces that captures the imagination with their daring trails of snow-lines, and the monochrome expanse of restless white.
search @ www.khanacademy.org    www.smithsonianmag.com
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In addition to photography, I also enjoy messing around with non-objective art. As a child, I adored making watercolor washes. These days, I have a few art apps on my tablet.
The first image was digitally painted in the Art Set app, then imported into Affinity Photo where I modified it using layers, blending modes, and filters.
Images by Xer S. Rowan, Creative Commons Attribution license
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clockworkslick · 2 years
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wall sigils
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chantherouxarts · 9 months
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backgrounds for my collabouratons with travis brown August 3 2023
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deadmomjokes · 2 years
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PSA: tomatoes are not spicy. Tomatoes and tomato products should not be spicy. Pizza sauce isn't inherently spicy. Tomato-based pasta sauce is not spicy. Ketchup is NOT spicy.
If tomatoes are spicy, you have an allergy to tomatoes.
This announcement brought to you by my almost 29-year-old husband learning for the first time in his 2.8 decades of putting food products into his mouth that spaghetti and saucy pizza aren't spicy foods
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pinchidesign · 1 year
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(via Non objective art 05 - red and white Zipper Pouch by PinchiDesign)
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colsandjoints · 1 year
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Andante, Rudolf Bauer.
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cryrabbitcry · 2 months
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Tillery
Mixed media/@11”x14
R.A.Young 2024
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cyndee51 · 3 months
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Artist painted color field - C.Millichamp
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jazzberiperks · 3 months
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hi tumblr osc my childhood show came back to me..
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tiliman2 · 2 years
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Lemme know if you’d like to buy this rare original painting 🖼
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mosssik · 2 years
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Olga Rozanova (Russian, 1887–1918) —Non-objective Composition (1917)
Oil on canvas, 66×83cm
style: suprematism
The State Russian Museum, Saint Petersburg, Russia
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clockworkslick · 2 years
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organic shapes in colors
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unhinged that gabriel had such a heartbreaking reaction to beelzebub giving him something because noone had given him anything before, because now it's got me thinking about angels existing in an environment and under a regime where you don't really have anything to call your own - all your own. so what potentially did crowley first give to aziraphale to call his own and what book do you think it was
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