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Notes on video lecture:
Barnett Newman's The Wild (1950)
Notes taken by Edward Tanguay on June 18, 2017 (go to class or lectures)
Choose from these words to fill the blanks below:
situation, gloss, binder, Newman, Taniguchi, ceiling, brush, ground, sculpture, varnish, masking, objects, wall, minimalist, wood, narrow, palette, buttery, zip, Oneness, integrate, lips, hybridized
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Barnett              (1905-1970)
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1950 The Wild
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a very tall, extraordinarily              painting
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the painting is as deep as it is wide
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he has stretched his canvas over a solid piece of         
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he has                      this painting
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it is as much a                    as it is a painting
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Newman is a                     
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he sees his paintings as               
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while his painting                had a zip running down the middle, The Wild is a full rendition of the zip itself
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we can read the entire painting itself, zip and              together, as one zip on the ground of the wall
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we are reading the painting environmentally
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thinking about how the painting reacts to the wall, to the ground
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the fact that Yoshio                   , the architect of the building, as left a recess at the bottom of the wall
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makes a dark shadow at the bottom of the floor and up by the               
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we are making visual relationships
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figure/ground
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matt/          
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push/pull
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we can think of how the painting reacts to the          and the space around it
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an important idea for minimalist artists
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considered the                    of their painting, sculpture, or in the case of installation art is the main focus of the art, i.e. art that focuses on its space of exhibition
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the paint itself
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a narrow red        along a dark, blueish-gray ground
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done by using two pieces of                tape
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painting red with a           
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pulling off the pieces of tape
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then he has a second red paint application on top of the ground and the previous red zip
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this was done with a                knife
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flat,                texture
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very characteristic          at the edge of the painting
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it was done with a lot more gloss
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he added more medium into the paint, perhaps even               
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when we look at the painting in low light, to allow the light to scrape off the painting, we can see a gap in that second paint application where we see the underlying zip of the same color and values, but a very matte paint
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has little              and certainly no varnish added to it
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Newman is playing with these two applications of red paint allowing the second application to visually                    with the matte, underlying red band of paint

Spelling Corrections:

pallette ⇒ palette
Barnett Newman's Onement, I (1948)
Barnett Newman's The Wild (1950)
Barnett Newman's Vir Heroicus Sublimis (1950)