If you want to be part of the conversation , you must know the language…
inspirational encounters are few, but significant when they occur…
continue to look:
HOW DO YOU KNOW WHAT YOU SEE ? ? ? ? ? ? ?
HOW DO YOU SEE WHAT YOU KNOW ? ? ? ? ? ? ?
some of the few:
GEORGES BRAQUE / PABLO PICASSO for “ Cubism” (1907) & their collaborative technique of “papier colle’ “(1913) in defiance of painting…the cardboard & metal “guitars”, personal photo’s of no longer existing works and the later free-standing painted sheet metal cutouts.
FRANK STELLA for the enamel “black paintings” (1958-1960), the shaped canvas (1963), and later the re-dimensionalized pictorial support surface for the space of painting (1972).
DONALD JUDD for “knowing” what he wanted to do, sculpture with a fearless use of common materials and “color”…Cad Red Light spoke loudly in defining the “specific object”, his writing stated the rest including why there are so few masterpieces.
KENNETH HOWARD aka VONDUTCH for his precise craftsmanship & radical inventive thought; which produced “modern pinstriping” and laid the foundation for postwar Custom Car Painting (Kustom Kulture) which in turn helped define American Car Culture imagery which prevails to this day.
Anything is always part of the definition of something else, nothing is so unique that it has no relationship to anything else. Invention is always the result of combined thought; even if that thought dictates the eventual absence of one or more of the elements of the inventive formula.
Collage came to exist as a viable media as much by the subtraction of the drawn or painted image, as by its replacement with “printed” wallpaper or newsprint and steel sewing pins to hold it in place.
Picasso’s visual equations became a variant of Braque’s & vice versa; this mutual influence resulted in a visual language which in turn was paragraphical in the forth coming definition of Modernism. Stella’s re-dimensionalized pictorial support reinvented the subject matter of contemporary abstraction by objectifying it and re-establishing visual links to the the earlier Russian Constructivist painting (Malevich-1920 & Liubov Popova-1917) and eventually the addition of railroad, French and ships curves in the form of 3-D planes to the visual dynamics in later works of Kandinsky.
and so it continues. . . . .
edited 2020