
Explore post painterly abstraction and the movement that preceded it, then examine foundational works by Josef Albers, Elswyth Kelly, Barnett Newman, Ad Reinhardt, Morris Louis, Kenneth Noland, and Frank Stella.
Explore how subjective expression drives post-painterly abstraction, from van Gogh’s expressive brushwork and Starry Night to nonobjective expression and Pollock’s action painting.
Explore post-painterly abstraction through Joseph Albers' square-based studies, highlighting how values and hues shape the painting while human presence recedes.
Explore post-painterly abstraction through Ellsworth Kelly’s use of simple color fields, curved and straight shapes, and blue negative space, with hands-on sketchbook exercises to mix yellows, greens, blues, and crimson.
Barnett Newman's central bar divides the rectangular canvas, creating changing spaces and textures in post-painterly abstraction, with a note on minimalism and a student design project of bars and branding.
Explore Ad Reinhardt's post-painterly abstraction through 1967 blue paintings, noting meaningful, subtle changes in hues and values arranged in rectangular configurations.
Explore Morris Lewis's magnet-painted works within the Washington color Square, where poured, tilted acrylics create fluid, spore-like forms with blank areas and a Pollock-inspired yet metrical origami structure.
Explore Kenneth Noland’s circles, targets, chevrons, stripes, and shaped canvases within the Washington culture school that worked in color, noting abstract expressionist influences and variations on a consistent form.
Explore post-painterly abstraction through Frank Stella's large aluminum and copper paintings, color strips, and protractors with arcs and circles, including works that protest the Nazi movement.
Explore the course catalog in relation to post-painterly abstraction, clarifying aims and themes, while noting the caption's brief cues of about, it's, and thanks.
This course is about Post-Painterly Abstraction, an important movement in the development of Contemporary Art. In this course we first look at Expressionism in order to understand the Post in Post-Painterly Abstraction. We get to study, appreciate and enjoy the work of some of the most important and famous Contemporary artists. My hope is that students come a way with an expanded visual experience that they can make part of their life experience. I teach lecture courses and studios as I wish they would have been taught to me. Much of the graphic material in my lectures is taken or generated first hand directly by me on site. I teach to learn. I teach subjects as I wish they were taught to me. The Mission Statement. Education is a tool for the improvement of successive generations. I hear and I forget. I see and I remember. I do and I understand. Confucius
This course is designed under the premise that humans should be taught in a way that is modeled after the educational patterns of evolution.
The design, development and application of educational systems based on the educational principles of evolution generates a philosophy and methodology of education in synchrony with the evolutionary education system that is firmly and deeply rooted in each of us.
Education for evolution is an educational system designed to help propel humans forward in the natural course of evolution. The purpose of education for evolution is to enhance and strengthen the natural evolutionary process of humans through the mechanism of education. The means to achieve this objective is the design of a curricula based on the same educational techniques and strategies used by natural evolution, enhanced and guided by the application of conscious educational decisions.