The medium's easy transformability and monochromy
create ambiguous figures; Apang's hybrid images are not what they seem.
The white-black monochromy
serves here the attempt of revealing the sacred.
Kusama is a shape-shifter whose self-invention and continual reinvention have yielded an oeuvre that moves from very early, Surrealist-inflected paintings of the 1950s, to the austere proto-minimal monochromy
of the "infinity nets" (her close friend Donald Judd was one of the first people to buy one, in 1959) that allied her with, among others, the European groups Zero and Nul, to what Frances Morris has aptly characterized as the "vivid, shocking and at the same time comic" (12) phallic accumulations first shown at the Green Gallery in 1962, to guerilla Pop and psychedelic performances to the mirrored installations and hallucinatory pumpkin patches she is known for today.
I was going to praise the viewer constructed by monochromy
At times, he uses the monochromy
widespread in sculpture to emphasise the plasticity of the sculpture or else he enters into chromatic description with the use of majolica and combines two, three or more colours in specific different parts of the sculpture.
Not a smell, not a style, not even drabness nor monochromy
In the views of the painter Yves Klein Vostrak found much that was close to his own: the symbolism of the trio of basic colours in Klein's monochromy
strikingly corresponds to Vostrak's thoughts on the principles of form and the radicalism of a work like Trias has affinities with the aesthetics of contrast between colour surfaces in painting.
In place of the old opposition between "the monochromy
of the post-imperial imagination," "nationalist histories of a unified people," and "the pointillism of the new Indian historians" searching for "examples of 'resistance' (textual and practical) to the ideas of the nation and the state," he proposes "new routes, that do not altogether abandon the terrain of political history, but recount it in different terms" (3).
had been available for literary exploitation since at least 1760, when Laurence Sterne displayed a black square as an emblem of death in Chapter 12 of Tristram Shandy.
Viewers confronted examples of an abstraction that is rigorous but never neutral, characterized by experimentation with unusual techniques and materials, and moving between monochromy
and construction, between chance and organization.
Schopenhaier was precociously dismissive of the term, and here he gives it a sneer with a nice Rymanesque image: "We cannot imagine an absolute absolute like a blank wall in front of us." The Paradoxical Absolute is far from a painting someone unsympathetic to monochromy
might compare to a blank wall--Ryman did not begin his all-over white squares until the middle sixties.