A loop of a dog loping left to right, progressively blurred or erased, a charming jest à la Muybridge on Rauschenberg’s Erased de Kooning.
Black and white forms, “lights,” signs flickering, introduction of blue, tan, brown, increasing effect of shimmer.
Shapes and Gestures
If you recognize a masterpiece, here is one. Fischinger’s Radio Dynamics is the basis by a distant kinship. If Frank O. Gehry were a genius, his buildings would look like this, and same goes coincidentally for Richard Meier.
Albers’ visual conundrums, a dash of Synchromism, to an inspired score by one Steve Goldman.
A drip painting (red) expands in squoodlings and lines, forms, “l’Impair”.
The setup gives you a most professorial assignment of red and green in a Balanchine minimum, with a modulation to all possible elemental combinations activated in varieties of active velocity, slow or fast. Dissension as form suffers an eclipse, transformed into neon forms by night, in a most prodigious display of the potentialities of the painted film.
Among other things (to music by Respighi) the superior model of American Masters’ animation, or a later improvement, with samples of Engel’s “mobiles.”
Kandinsky or Klee and Dali and Kline is the lineage (with an unusual painting of cornstalks by Van Gogh which also influenced Lee Krasner) of this innermost abstract evocation of a field’s workings.