Sentences with phrase «american painting career»

Not exact matches

American artist Mary Heilmann's (b. 1940) career spans five decades, from her early geometric paintings made in the 1970s to her recent shaped canvases in day - glo colours.

At this moment of renewed relevance, Bernard Buffet: Paintings from 1956 to 1999 reintroduces the artist's oeuvre to a new generation of American viewers, charting a history of the artist's development through a tightly focused selection of highlights from Buffet's career.

Agnes Pelton,» Incarnation,» 1929 In the LA Times blog, Christopher Knight reports that «the kernel of a powerful idea resides within «Illumination,» an exhibition of abstract paintings by four women who worked in the deserts of the American Southwest and whose careers pretty much spanned the 20th century.

Renowned art curator, historian, and Artistic Director of the Serpentine Galleries, Hans Ulrich Obrist, will be in conversation with American artist Dan Colen on «Sweet Liberty», Colen's first major solo show in London, which surveys the entirety of the artist's career to date and also features new paintings and large - scale installations.

The lithograph is included in the Whitney Museum of American Art's retrospective of the artist's career, «Grant Wood: American Gothic and Other Fables,» a comprehensive overview that includes most of his major paintings, including «American Gothic,» the work that rocketed him to national prominence in 1930.

Perhaps initially something of a dilettante, De Keyser began painting seriously in his mid-30s after a brief journalistic career, becoming associated with the East - Flanders» «New Vision» group whose proponents drew upon post-war American painting, most notably Abstract Expressionism, Minimalism and Pop Art.

This captivating exhibition focuses on the remarkable paintings and drawings created by the American artist Charles Seliger during the first decade of his career.

Early in his career, his work was included in a number of significant exhibitions that defined the sphere of postwar art, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962), The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971).

According to legend, the idea of painting the American flag came to Johns in a dream in 1954, and from then on it has been an intermittent focus of his six - decade career.

The first retrospective of the American artist's paintings in two decades includes 43 works spanning each period of Motley's career, from 1919 to 1960.

Walasse Ting, who mixed works on paper with artist's books throughout his career, was an itinerant Chinese - American artist and poet whose color - saturated paintings refer to calligraphy and Abstract Expressionism.

My personal theory is that because he was so highly collected during his entire career, American institutions were queuing up to acquire his paintings, so very few of them ever made it out of the country.

I have said it before, but one of my greatest joys these days is watching the careers of artists featured in New American Paintings explode.

The exhibition, Kay WalkingStick: An American Artist, includes more than 65 of WalkingStick's most notable paintings, drawings, sculptures, notebooks, and diptychs, following her artistic career over more than four decades.

His timing was lousy, from a career angle, dropping out as he did just when champions were needed to implement the idea of world - beating American painting falling into line with the cold - war vision of America's brave new free - world hegemony.

All well and good, but it leaves out pretty much all of Hassam's career and the specificity of American painting.

Throughout his 30 - year career, the renowned Dublin - born artist Sean Scully has continually sought to reinvigorate abstract painting, and has succeeded in this attempt by finding ways through (rather than around) postwar American abstraction.

Rudolph, now SAMA's chief curator and American art curator, worked at the Dallas Museum of Art eight years ago when it acquired one of Sully's most remarkable fancy pictures, Cinderella at the Kitchen Fire (1843), and Rudolph and Soltis's desire to understand how it fit into his career planted the seeds for Painted Performance.

The abstract drip paintings were made during the climax of his career and pushed Pollock to the forefront of Abstract Expressionism — the first American art movement to wield international influence.

The evening will also feature a 1955 film by Rudy Burckhardt as well as film of Edith Schloss, the subject of a major retrospective now on view at Sundaram Tagore Gallery, leading a tour of her apartment where she vividly describes her own paintings, her career and her vast knowledge of American and European art history and mythology, past and present.

2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris, France

The combined gift and purchase features paintings, sculptures and works on paper by 33 contemporary African - American artists from the Southern United States, including 13 works by Thornton Dial (1928 — 2016) that span four decades of the artist's career.

Paintings like Attic and Excavation (1950) are classics of American art and the apogee of de Kooning's career.

Grant Wood: American and Other Fables Whitney Museum 99 Gansevoort Street, New York, NY 10014 Through June 10, 2018 Grant Wood's American Gothic, one of the best - known American paintings from the 20th century, is clearly a highlight of his career.

Despite the iconic status of the American Gothic, Wood's career consists of far more than one single painting.

Early in his career, his work was included in a number of significant exhibitions that defined the art in the postwar era, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962) The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971).

This acclaimed solo show, organized by the Whitney Museum of American Art and now on view at the Dallas Museum of Art, looks back on her 20 - year career through more than 60 works and objects, from early pieces made in the mid-1990s to more recent installations and paintings.

«Civil Rights Marchers» (1988) and «Once Something Has Lived It Can Never Really Die» (1996) span the artist's brief but explosive career and complement the High's existing holdings of Lockett's cut - metal drawings and deer paintings, work in which animals become potent symbols for the vulnerability of African - American men in the post — Civil Rights era South.

A forceful clarity of purpose and vision has characterized his art and his career from the start: he dominated the New York art scene of the late 1950s with his Black Paintings composed of stripes, which famously helped pave the way for Minimalism, and which were exhibited in The Museum of Modern Art, New York's milestone exhibition Sixteen Americans, alongside Johns and Rauschenberg.

She vividly presents her own paintings, her career and her vast knowledge of American and European art history and mythology, past and present.

At the height of his career, Pollock painted in a barn in Springs, New York, but he was born in Cody, Wyoming in 1912 and grew up in Arizona and Chico, California, experiencing Native American cultural symbols, which may have influenced his work as glyphs and motifs, what Jung called archetypes, emerged during his Jungian analysis.

Now recognised as the crowning moment of Pollock's career, this exhibition contained several of his greatest large - scale masterpieces, all of which were painted that year: Number One, 1950 (Lavender Mist)(National Gallery of Art, Washington, D.C.); Number 27, 1950 (Whitney Museum of American Art, New York); Autumn Rhythm (Number 30)(Metropolitan Museum of Art, New York); One: Number 31, 1950 (Museum of Modern Art, New York); and Number 32, 1950 (Kunstsammlung Nordrhein - Westfalen, Düsseldorf).

Early in his career, his work was included in a number of significant exhibitions that defined the art of the postwar era, including Sixteen Americans, The Museum of Modern Art, New York, 1959; Geometric Abstraction, Whitney Museum of American Art, New York, 1962; The Shaped Canvas, Solomon R. Guggenheim Museum, New York, 1964 — 65; Systemic Painting, Solomon R. Guggenheim Museum, New York, 1966; Documenta 4, Kassel, 1968; and Structure of Color, Whitney Museum of American Art, New York, 1971.

Untitled, 1953 reflects the confidence and virtuoso painting of an important figure in the New York School at the height of his career,» said Tricia Laughlin Bloom, curator of American Art at the Newark Museum, in a press release.

Chase was recognized early in her career and her work was included in a host of important group exhibitions, including Barbara Rose's 1979 manifesto at the Grey Art Gallery, New York University, «American Painting: The Eighties;» the Whitney Museum Biennial in 1982; and the American group contribution to the Venice Biennale in 1984.

The joint exhibition spanning Mr. Johns's 60 - year career of paintings, sculpture, drawings and prints will also be influenced by Philadelphia's strength in historical and encyclopedic work and the Whitney's in modern and contemporary American art.

The first American museum exhibition dedicated to the artist in nearly three decades, Günther Förg: A Fragile Beauty, brings together over 40 years of the artist's multimedia practice — including works on paper, photography, sculpture, and rarely - exhibited late - career paintings — to provide new insight on the practice and enduring influence of this extraordinary and complex artist.

This was the period of his Woman paintings, which were to remain his most celebrated series, and fame was not long delayed; though, ironically, nothing gave his career a greater boost than a letter in 1955 by the millionaire Huntington Hartford, a bitter condemnation which was run as a full - page advertisement in every major American newspaper.

Over a nearly 60 year career, Robert Colescott established himself as a singular voice in American painting.

-- Lucas Samaras «During the first three decades of his long career, American artist Lucas Samaras (b. 1936 in Greece) turned to pastel to produce small, intimate works that explored themes present in his better - known paintings, sculptures, and installations.

- Richard Prince Painted in 1990, If I Die is one of Richard Prince's celebrated series of monochromatic joke paintings; the deadpan, visual expressions of humor that have been the mainstay of the American artist's career.

In her early career, she immersed herself in the study of art, integrating a wide range of Eastern and Western influences, training in traditional Japanese painting while also exploring the European and American avant - garde.

«American artist William Copley, creator of madcap narrative paintings, drawings, and installations, was both an insider and an outsider,» begins the press release of The World According to CPLY, the Menil Collection's 2016 retrospective dedicated to the late artist's decades spanning career.

Marking the first American museum presentation dedicated to the artist, One Day on Success Street traces Bayrle's exploration of the profoundly complex impact of technology on humans and their environments over the course of his nearly 50 - year career and across a range of media including painting, sculpture, video, collage, and installation.

Throughout her career, Ms. Flack's work has been featured in numerous traveling museum exhibitions, including «Twenty - two Realists» (1972) at the Whitney Museum of American Art, New York; «Super Realism» (1975 - 76) at the Baltimore Museum of Art; «American Painting of the Seventies» (1979) at the Albright - Knox Gallery, Buffalo, NY; Contemporary American Realism» (1981 - 83) at the Pennsylvania Academy of the Fine Arts, Philadelphia; «Toyama Now, 1981» (1981) at the Museum of Modern Art, Tokyo, Japan; and «Making Their Mark: Women Artists Move into the Mainstream» (1989) which traveled to the Cincinnati Art Museum, the New Orleans Museum of Art, the Denver Art Museum and the Pennsylvania Academy of the Fine Arts.

-- Nikolay Oleynikov, Tsaplya Olga Egorova, Dmitry Vilensky, and others Claire Fontaine (fictional conceptual artist)-- A Paris - based collective including Fulvia Carnevale and James Thornhill CPLY — William N. Copley Diane Pruis (pseudonymous Los Angeles gallerist)-- Untitled gallery's Joel Mesler Donelle Woolford (black female artist)-- Actors hired to impersonate said fictional artist by white artist Joe Scanlan Dr. Lakra (Mexican artist inspired by tattoo culture)-- Jeronimo Lopez Ramirez Dr. Videovich (a «specialist in curing television addiction»)-- The Argentine - American conceptual artist Jaime Davidovich Dzine — Carlos Rolon George Hartigan — The male pseudonym that the Abstract Expressionist painter Grace Hartigan adopted early in her career Frog King Kwok (Hong Kong performance artist who uses Chinese food as a frequent medium)-- Conceptualist Kwok Mang Ho The Guerrilla Girls — A still - anonymous group of feminist artists who made critical agit - prop work exposing the gender biases in the art world Hennessy Youngman (hip - hop - styled YouTube advice dispenser), Franklin Vivray (increasingly unhinged Bob Ross - like TV painting instructor)-- Jayson Musson Henry Codax (mysterious monochrome artist)-- Jacob Kassay and Olivier Mosset JR — Not the shot villain of «Dallas» but the still - incognito street artist of global post-TED fame John Dogg (artist), Fulton Ryder (Upper East Side gallerist)-- Richard Prince KAWS — Brian Donnelly The King of Kowloon (calligraphic Hong Kong graffiti artist)-- Tsang Tsou - choi Klaus von Nichtssagend (fictitious Lower East Side dealer)-- Ingrid Bromberg Kennedy, Rob Hult, and Sam Wilson Leo Gabin — Ghent - based collective composed of Gaëtan Begerem, Robin De Vooght, and Lieven Deconinck Lucie Fontaine (art and curatorial collective)-- The writer / curator Nicola Trezzi and artist Alice Tomaselli MadeIn Corporation — Xu Zhen Man Ray — Emmanuel Radnitzky Marvin Gaye Chetwynd (Turner Prize - nominated artist formerly known as Spartacus Chetwynd)-- Alalia Chetwynd Maurizio Cattelan — Massimiliano Gioni, at least in many interviews the New Museum curator did in the famed Italian artist's stead in the»90s Mr. Brainwash (Banksy - idolizing street artist)-- Thierry Guetta MURK FLUID, Mike Lood — The artist Mark Flood R. Mutt, Rrose Sélavy — Marcel Duchamp Rammellzee — Legendary New York street artist and multimedia visionary, whose real name «is not to be told... that is forbidden,» according to his widow Reena Spaulings (Lower East Side gallery)-- Artist Emily Sundblad and writer John Kelsey Regina Rex (fictional Brooklyn gallerist)-- The artists Eli Ping (who now has opened Eli Ping Gallery on the Lower East Side), Theresa Ganz, Yevgenia Baras, Aylssa Gorelick, Angelina Gualdoni, Max Warsh, and Lauren Portada Retna — Marquis Lewis Rod Bianco (fictional Oslo galleris)-- Bjarne Melgaard RodForce (performance artist who explored the eroticized associations of black culture)-- Sherman Flemming Rudy Bust — Canadian artist Jon Pylypchuk Sacer, Sace (different spellings of a 1990s New York graffiti tag)-- Dash Snow SAMO (1980s New York Graffiti Tag)-- Jean - Michel Basquiat Shoji Yamaguchi (Japanese ceramicist who fled Hiroshima and settled in the American South with a black civil - rights activist, then died in a car crash in 1991)-- Theaster Gates Vern Blosum — A fictional Pop painter of odd image - and - word combinations who was invented by a still - unnamed Abstract Expressionist artist in an attempt to satirize the Pop movement (and whose work is now sought - after in its own right) Weegee — Arthur Fellig What, How and for Whom (curators of 2009 Istanbul Biennial)-- Ana Dević, Nataša Ilić, Sabina Sabolović, Dejan Kršić, and Ivet Curlin The Yes Men — A group of «culture - jamming» media interventionists led by Jacques Servin and Igor Vamos

A pioneer of American modernism, Burgoyne Diller devoted his career to the exploration of geometric abstraction in painting, drawing, collage, and sculpture.

The combined gift and purchase features paintings, sculptures and works on paper by 33 contemporary African - American artists from the Southern United States, including 13 works by Thornton Dial (1928 — 2016) that span four decades of the artist's astounding career.

Key volumes include «Wangechi Mutu: a Fantastic Journey,» which illustrates a comprehensive survey of her work presented at the Nasher Museum of Art at Duke University and the Brooklyn Museum; «Glenn Ligon: America,» a documentation of the artist's 25 - year survey organized by the Whitney Museum of American Art; «Frank Bowling» the first comprehensive monograph of the artist by Mel Gooding and «Mappa Mundi,» which accompanied a major 2017 exhibition featuring works spanning Bowling's 60 - year career; «Jack Whitten: Five Decades of Painting,» which coincided with the artist's recent career - spanning exhibition; and «Alma Thomas,» published on the occasion of her recent survey at the Tang Teaching Museum and Studio Museum in Harlem.

In 2011, he was part of the Art Museum of Southeast Texas's Obsessive Worlds exhibition and, in the same year, was included in New American Paintings for the third time in his career.