A visit to The Metropolitan Museum of Art for a look at “Smashed Strokes Hope,” which belongs to artist Joan Snyder’s breakthrough series of abstract paintings, sometimes referred to as “stroke paintings” because they emphasize the primacy of the artist’s brushwork.

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> NEXT, WE VISIT THE METROPOLITAN MUSEUM OF ART FOR A FRESH LOOK AT THE MUSEUM'S COLLECTION OF POST-WAR AND CONTEMPORARY ART.

EPIC ABSTRACTION, POLLOCK TO HERRERA EXPLORES LARGE-SCALE ABSTRACT PAINTING, SCULPTURE AND OTHER WORKS OF ART.

IT SEEKS TO BROADEN THE NARRATIVE OF ABSTRACTION, BRINGING TOGETHER 60 WORKS FROM THE COLLECTION, REPRESENTED HERE ARE SUCH ICONIC ART I WAS AS JACKSON POLLACK, AND IGUCHI AND CARMEN HERRERA AND MARK BRADFORD.

RANDALL GRIFFEY, CURATOR OF MODERN AND CONTEMPORARY ART AT THE MET LOOKS AT A SINGLE WORK FROM THE EXHIBITION.

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THE COLORFUL AND ATTRACTIVE PAINTING BEHIND ME IS SMASH, STROKES HOPE FROM 1971 BY JOAN SCHNEIDER.

SCHNEIDER IS ONE OF THE CONTEMPORARY ARTISTS FEATURED IN EPIC ABSTRACTION, POLLACK TO HERRERA AND THE EXUBERANT COLOR AND THE SENSE OF EXPERIMENTATION BREAKS FROM THE INTENSE FORMALISM OF MINIMALISM, SPECIFICALLY THE MINIMALIST GRID THAT WAS CONSIDERED TO BE THE MOST DESIRABLE TEMPLATE OR TOUCHSTONE FOR COMPOSITION OR DESIGN FOR MANY ARTISTS, PAINTERS AND SKULL OPPORTUNITY ARES COMING OF AGE IN THE 1960s AND 70s.

THIS IS A PAINING ON CANVAS.

OIL, A KRILLIC AND SPRAY ENAMEL.

SHE'S APPLYING PAINT FAIRLY TRADITIONALLY IN CERTAIN INSTANCES WITH THE SEQUENCE OF VERY CLEAR BRUSH STROKES.

MOST OF THOSE ARE WITH THE OIL PAINT, BUT THERE ARE INSTANCES SHE'S EXPLORING MARK MAKING IN OTHER WAYS.

HER PROCESS IS BOTH ADDITIVE AND SUBTRACTIVE.

SHE MAKES STROKES BY ADDING INDIVIDUAL BRUSH MARK, BUT SHE ALSO EXECUTES STROKES IN THE SUBTRACTIVE MANNER.

IN SOME CASES, SCRAPING INTO THICK PAINT TO MAKE AN ABSENCE OF A STROKE.

PART OF THE APPEAL OF JOAN SCHNEIDER'S PAINTING IS THAT IT ALMOST EXPANDS AND BLOWS UP IN SCALE WITH AN ARTIST PALETTE MIGHT LOOK LIKE WHERE YOU GET A SENSE OF THE PAINT BEING MIXED AND THERE'S THE SENSE OF A FULL RANGE OF AN ARTIST'S PALETTE THAT SHE'S PREPARING TO USE THE PAINT IN CERTAIN INSTANCES AND CERTAIN PASSAGES, IT'S PILED UP, AND THICK AND IMPOSTED AND COAGULATED.

IN OTHER INSTANCES SHE HAS THE PAINT DILUTED AND OVER WIDE EXPANSES OF THE PAINTING.

THE PAINTING SERVES AS A KIND OF INVENTORY OR CATALOG OF PAINTER STROKES.

SOME THICK, SOME THIN, SOME STABLE, SOME STRONG.

OTHERS FLUID, OTHERS WEAK.

SCHNEIDER HERE WALKS THE VERY FINE LINE BETWEEN EXPERIMENTATION AND DELIBERATION.

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