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Julian Stanczak
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Julian Stanczak
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Julian Stanczak
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Julian Stanczak
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Julian Stanczak
This publication presents large-scale paintings by Polish artist Julian Stanczak (born 1928) that focus on representing natural phenomena, energy and light. Using filmic screens and always working with his nondominant hand, Stanczak layers hypnotic color upon color to create glowing and vibrant abstract works.
Creative Essence
Examines regional culture through the contributions of visual arts and includes a DVD Arising out of the Cleveland Artists Foundation's Dialogue Series, a 22-hour-long collection of forums held in cultural institutions and broadcast on National Public Radio, Creative Essence examines regional culture through an exploration of the distinguished contributions Cleveland has made to the visual arts and architecture. The Dialogue Series brought together a variety of people in the visual arts community to discuss the development of the region's creative life and environment, whether it be through architecture and city planning or through the industrial and fine arts. They shared their views and kn...
Julian Stanczak
None
Julian Stanczak
Julian Stanczak was born in Poland in 1928. During World War II, Stanczak and his family were forced into a labor camp in Siberia, where they survived extreme conditions and near starvation. Stanczak ultimately fled to a Polish refugee camp in Uganda in the late 1940s, where he started to make work inspired by the atmospheric light of Africa. In 1950, Stanczak immigrated to the United States, where he studied under Josef Albers at Yale University. Albers?s teachings on color theory and the precision of geometric forms would become fundamental to the development of Stanczak?s mature style and method. 0Stanczak?s reverence for color comes from a desire to translate the drama and power of nature into a universal impression. His canvases are created through a complex process of tape masks upon which colors are systematically added and unveiled in layers. Despite the intricate and painstaking process, Stanczak does not use any preparatory drawings for his paintings, relying solely on his own vision of a finished work. 0The exhibition?The Life of the Surface? presents paintings from the years 1970 to 1975. 00Exhibition: Mitchell-Innes & Nash, New York, USA (18.05.-14.07.2017).
Modern and Contemporary Art at Dartmouth
"Modern and Contemporary Art at Dartmouth focuses on post-1945 painting, sculpture, works on paper, photography, and new media, including interactive and multimedia works. The catalogue comprises several extensive entries on areas of strength in the Hood Museum of Art's modern and contemporary collections as well as over one hundred color illustrated entries on individual works, many of which have never before been published. Featured artists include El Anatsui, Romare Bearden, Alexander Calder, Bob Haozous, Juan Munoz, Alice Ned, Amir Nom, Mark Rothko, Ed Ruscha, Alison Saar, Richard Serra, and Lorna Simpson." --Book Jacket.
Overshot
Woven coverlets have appeared in several guises within the history of folk textiles. Created on four-harness looms, coverlets made in the nineteenth-century American South typically featured colored wool and cotton threads woven into striking geometric patterns. Although they are not as well known as other textiles and domestic objects, “overshot” coverlets were, and continue to be, significant examples of material culture that require tremendous skill and creativity to produce. They also express currents of conformity and dissent. In addition to being pleasing to the eye and hand, “overshot” coverlets have advanced a variety of social and political ends. At times exhibited in slave ...
