Spilling Over: Painting Color in the 1960s @ the Whitney Museum of American Art in New York

Morris Louis (1912-1962), Gamma Delta, 1959-60. Magna on canvas, 103 1/8 × 152 1/2 in. (261.9 × 387.4 cm). Whitney Museum of American Art, New York; purchase with funds from the Glen Alden Foundation and the McCrory Foundation, Inc. 69.57. © 2018 Maryland Institute College of Art (MICA) / Artists Rights Society (ARS), New York

Richard Anuszkiewicz, The Fourth of the Three, 1963. Acrylic on composition board, 48 1/16 × 48 1/16 in. (122.1 × 122.1 cm). Whitney Museum of American Art, New York; purchase with funds from the Friends of the Whitney Museum of American Art 64.4. © 2019 Richard Anuszkiewicz/Licensed by VAGA at Artists Rights Society (ARS), New York

Installation view of Spilling Over: Painting Color in the 1960s (Whitney Museum of American Art, New York, March 29-August 2019). From left to right: Morris Louis, Gamma Delta, 1959-60; Frank Stella, Gran Cairo, 1962; Miriam Schapiro, Jigsaw, 1969; Alvin Loving, Septehedron 34, 1970; Bob Thompson, Triumph of Bacchus, 1964; Helen Frankenthaler, Orange Mood, 1966. Photograph by Ron Amstutz

Frank Stella, Gran Cairo, 1962. Alkyd on canvas, 85 9/16 × 85 9/16 in. (217.3 × 217.3 cm). Whitney Museum of American Art, New York; purchase with funds from the Friends of the Whitney Museum of American Art 63.34. © 2019 Frank Stella/Artists Rights Society (ARS), New York

Frank Bowling, Dan Johnson's Surprise, 1969. Acrylic on canvas, 115 15/16 × 104 1/8 in. (294.5 × 264.5 cm). Whitney Museum of American Art, New York; purchase with funds from the Friends of the Whitney Museum of American Art 70.14. © 2019 Frank Bowling/Licensing by Artists Rights Society (ARS), New York

Alvin Loving (1935-2005), Septehedron 34, 1970. Acrylic on shaped canvas, 88 5/8 × 102 1/2 in. (225.1 × 260.4 cm). Whitney Museum of American Art, New York; gift of William Zierler, Inc. in honor of John I. H. Baur 74.65. Courtesy the Estate of Al Loving and Garth Greenan Gallery, New York

Emma Amos (b. 1938), Baby, 1966. Oil on canvas, 46 1/2 × 51 in. (118.1 × 129.5 cm). Whitney Museum of American Art, New York; purchased jointly by the Whitney Museum of American Art, with funds from the Painting and Sculpture Committee; and The Studio Museum in Harlem, museum purchase with funds provided by Ann Tenenbaum and Thomas H. Lee T.2018.33a-b. © Emma Amos; courtesy of the artist and RYAN LEE Gallery, New York

Spilling Over: Painting Color in the 1960s gathers paintings from the 1960s and early 1970s that inventively use bold, saturated, and even hallucinatory color to activate perception. Many artists during this era adopted acrylic paint—a newly available, plastic-based medium—and explored its expansive technical possibilities and wider range of hues. Color Field painters poured paint and stained unprimed canvas, dramatizing materiality and visual force of painting. At the same historical moment, an emerging generation of artists of color and women explored color’s capacity to ignite new questions about perception, specifically its relation to race, gender, and the coding of space. Spilling Over looks to the divergent ways color can be equally a formal problem and a political statement.

Spilling Over: Painting Color in the 1960s is on view through August 18 at the Whitney Museum of American Art 99 Gansevoort Street New York, NY. photographs courtesy of the Whitney Museum of American Art

Frank Bowling @ Tate Britain in London

Installation View, Frank Bowling at Tate Britain (31 May - 26 August 2019). Tate Photography, Matt Greenwood

South America Squared, 1967, Acrylic and spray paint on canvas, 2430 x 2740 mm, Rennie Collection, Vancouver © Frank Bowling. All Rights Reserved, DACS 2019

Ziff, 1974, Acrylic paint on canvas, 2010 x 1460 x 50 mm, Private collection, London, courtesy of Jessica McCormack © Frank Bowling. All Rights Reserved, DACS 2019

Sacha Jason Guyana Dreams, 1989, Acrylic paint and resin on canvas, 1780 x 1360 mm, Tate © Frank Bowling. All Rights Reserved, DACS 2019

Cover Girl, 1966, Acrylic, oil paint, and silkscreened ink on canvas, 1448 x 1016 mm, Private Collection © Frank Bowling. All Rights Reserved, DACS 2019

Iona Miriam’s Christmas Visit To & From Brighton, 2017, Acrylic paint and plastic objects on collaged canvas, 1890 x 1225 mm, Courtesy of Frank Bowling and Hales Gallery, Alexander Gray Associates, and Marc Selwyn Fine Art © Frank Bowling. All Rights Reserved, DACS 2019

Barticaborn I, 1967, Acrylic paint, spray paint, and oil wax on canvas, 2340 x 1224 mm, Lowinger Family Collection © Frank Bowling. All Rights Reserved, DACS 2019

Installation View, Frank Bowling at Tate Britain (31 May - 26 August 2019). Tate Photography, Matt Greenwood

Ah Susan Whoosh, 1981, Medium acrylic paint on canvas, 2415 x 1750 mm, Private collection, London © Frank Bowling. All Rights Reserved, DACS 2019

Installation View, Frank Bowling at Tate Britain (31 May - 26 August 2019). Tate Photography, Matt Greenwood

Frank Bowling at Tate Britain, Tate Photography, 2019, Matt Greenwood

Frank Bowling’s first major retrospective at the Tate Britain offers the chance to experience work created throughout all six decades of the artist’s career. Bowling has relentlessly explored the properties and possibilities of paint, experimenting with staining, pouring, layering, as well as a variety of materials. The exhibition includes paintings from his respectively more personal and abstract series in which Bowling has investigated the tension between geometry and fluidity. At 85 years-old, the artist continues to paint everyday creating work that relies on technical skill while embracing change and the unpredictable.

Frank Bowling is on view through August 26 at Tate Britain Millbank, Westminster, London. photographs courtesy of Tate Britain