Sentences with phrase «american tradition of abstraction»

Her work is informed by conceptual art as well as by Latin American and North American traditions of abstraction.

Not exact matches

1994 46th Annual American Academy Purchase Exhibition, American Academy of Arts and Letters, New York, NY Abstraction: A Tradition of Collecting in Miami, Center of the Fine Arts, Miami, FL Gallery Artists, Lennon, Weinberg, Inc., New York, NY Works on Paper Group Exhibition, Manny Silverman Gallery, Los Angeles, CA Jean Outland Chrysler Collection of Abstract Expressionist Paintings, Muscarelle Museum of Art, Williamsburg, VA New York — Providence: The 50's Connection, Provincetown Art Association, Provincetown, MA

Best known for large - scale interiors, landscapes, and portraits featuring powerful black figures, Marshall explores narratives of African American history from slave ships to the present and draws upon his deep knowledge of art history from the Renaissance to twentieth - century abstraction, as well as other sources such as the comic book and the muralist tradition.

1999 National Drawing Invitational (7th Biennial), Arkansas Arts Center, Little Rock, AR Abstraction A Tradition of Collecting in Miami, Center for Fine Arts, Miami, FL O'Hara, Bluhm and Goldberg: un poeta e due pittori a new york degli anni» 50, Centro per l'Arte Contemporanea di Palazzo Rocca, Livorno, Italy The Forty - fifth Biennial: The Corcoran Collects, 1907 — 1998, Corcoran Gallery of Art, Washington, DC In Memory of My Feelings: Frank O'Hara and American Art, The Museum of Contemporary Art, Los Angeles, CA Historically Speaking, UAM: 25 Years of Excellence University Art Museum, California State University, Long Beach, CA

1993 Les Amis des Musées de Verviers: Aspects de la mouvance construite internationale, Fondation Pro Mesures Art International, Verviers, Belgium (catalogue) Yale Collects Yale, Yale University Art Gallery, New Haven, CT Skowhegan 93, Colby College Museum of Art, Waterville, ME (booklet) Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston, MA Artists» Photographs: A Private View, Blum Helman Gallery, New York Live in Your Head, Hochschule für Angewandte Kunst and Galerie Metropol, Vienna (curated by Robert Nickas, catalogue) The Tradition of Geometric Abstraction in American Art 1930 — 1990, Whitney Museum of American Art, New York 15th Anniversary Group Exhibition, Arthur Roger Gallery, New Orleans, LA Drawing the Line Against AIDS, AmFAR Art Against AIDS, Venice Biennale, Venice Looking at Collecting Today, Chateau de Tanlay, Burgundy, France Legend In My Living Room, Rhona Hoffman Gallery, New York I Love You More than My Own Death, Venice Biennale, Venice Italia - America, L'Astrazione Ridefinita, Galleria Nazionale d'Arte Moderna, San Marino, Italy (curated by Demetrio Paparoni, catalogue) New York Painters, Sammlung Goetz, Munich (catalogue) Legend in My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, Paris

Fusing the traditions of European painting with the distinct character of American abstraction, Scully's great achievement is the reinvigoration of abstract painting with the metaphorical, the philosophical, and the sublime combined with the earthy tangibility of paint.

Georgia O'Keeffe radically broke from tradition and this summer the Tate celebrates the artist and pioneer of American abstraction that remains absent from British collections in an enthralling retrospective.

These abstractions seem so familiar, and so profoundly part of American traditions, that it is difficult to accept that nothing quite like them has been seen before.

In this endeavor, Hughes aligns himself squarely within the tradition of painters like Paul Klee and Wassily Kandinsky, whose groundbreaking ideas gave rise to a main branch of contemporary American abstraction which espouses the possibility of conveying the full range of human experience through the raw materials of paint and renders moot the distinction between abstraction and figuration.

Known for his handcrafted sculptural installations of crochet, tulle, spices and stones, Neto's renowned art - making practice draws from a wide variety of sources, from Modernist traditions of biomorphic abstraction, through Arte Povera and American Minimalism, to the legacies of Brazilian neo concrete, conceptual and Tropilcália movements.

1992 THE TRADITION OF GEOMETRIC ABSTRACTION IN AMERICAN ART 1930 - 1990, Whitney Museum of American Art, New YorOF GEOMETRIC ABSTRACTION IN AMERICAN ART 1930 - 1990, Whitney Museum of American Art, NAMERICAN ART 1930 - 1990, Whitney Museum of American Art, New Yorof American Art, NAmerican Art, New York.

2014 Witness: Art and Civil Rights in the 60's, Brooklyn Museum, Brooklyn, NY; Hood Museum of Art, Hanover, NH; The Blanton Museum of Art, Austin, TX Beyond the Spectrum: Abstraction in African - American Art 1950 - 1975, Michael Rosenfeld Gallery LLC, New York, NY Conversations: African and African American Artwork in Dialogue, Smithsonian National Museum of African Art, Washington, DC Tradition Redefined: The Larry and Brenda Thompson Collection of African American Art, The Saint Louis University Museum of Art, Saint Louis, MO

The show (organized with the Joan Mitchell Foundation and with Museum Ludwig in Cologne) credits Mitchell as an important bridge between American and European abstraction, connecting her early New York School years to her late period in Vétheuil, France, where she made landscapes that were very much in the muscular Ab - Ex tradition but also explored the more genteel legacy of late Monet.

In brief, there was little knowledge about this American movement (interestingly enough, there was more information on Pop Art and Minimalism), and the whole perspective of looking at Abstract Expressionism was in the light of European postwar abstraction — Paris School, Lyrical Abstraction, New Realism, and L'informel — building on the tradition, vocabulary, and ideals of these trends that were naturally more accessible and familiar to manyabstraction — Paris School, Lyrical Abstraction, New Realism, and L'informel — building on the tradition, vocabulary, and ideals of these trends that were naturally more accessible and familiar to manyAbstraction, New Realism, and L'informel — building on the tradition, vocabulary, and ideals of these trends that were naturally more accessible and familiar to many Europeans.

If the show intended to nod at the kinds of abstraction influenced by American painting of the 1960s (Morris Louis, Helen Frankenthaler and others painted on canvas with acrylics in a way that seemed to up the ante of the watercolour tradition), why not chose a late 60s John Hoyland, a 70s Bert Irvin or a recent John McLean rather than this dreary thing?

Throughout his career, James Bishop has engaged with European and American traditions of postwar abstraction while developing a subtle, poetic, and highly unique visual language of his own.

Behnke quotes Floyd Herman who wrote of Hine's work: «His abstractions synthesized a keen sensibility of an accomplished draughtsman with the poetry and inventive structure that linked his work to the American abstract tradition of Stuart Davis, Al Held, Barnett Newman and Mark Rothko.

Hailing from Madrid and participating in the São Paulo Biennial this year, he is a pivotal player in the Geometría Sensible movement, which marks a revival in the Latin American tradition of geometric abstraction, the roots of which can be traced to the School of the South and the trailblazing Uruguayan artist Joaquin Torres - Garcia.

According to art critics, Scully's artistic vision follows the traditions of early European concrete art in the manner of Mondrian or Theo Van Doesburg, in relation to its desire for harmony and order, but late American abstraction (à la Pollock and Rothko), in its insistence on utilizing large powerful canvases to express a personal state of mind.

1994 Possible Things, Bardamu Gallery, New York, USA (Vik Muniz, Curator) Choice, Chance and Irony, Todd Gallery, London; John Hansard Gallery, University of Southampton, England Unbound: Possibilities in Painting, Hayward Gallery, London, England (Greg Hilty and Adrian Searle, Curators) Le Temps D'Un Dessin, Galerie De L'École Des Beaux - Arts, Lorient, France, (Phillippe Briet, Curator) Written / Spoken / Drawn in Lacanian Ink, Thread Waxing Space, New York, USA Bravin Post Lee, New York, USA Painting, Rhona Hoffman, Chicago, USA About Color, Charles Cowles, New York, USA 8 Rooms for Paiting, Galeri F15 Alby, Moss, Norway (Gertrud Sandquist, Curator) Summer Exhibition, Sperone Westwater, New York, USA The Assertive Image: Artists of the Eighties from the Eli Broad Family Foundation, U.C.L.A. at the Armand Hammer Museum of Art, Los Angeles, USA Abstract Works on Paper, Robert Miller, New York, USA On Paper, Schmidt Contemporary Art, Saint Louis, USA Abstraction: A Tradition of Collecting, Center for the Fine Arts, Miami, USA American Paining Now, Galleries Caterina Fossati, Eva Menzio, Giovanni Rimoldi, Turin, Italy Tutti Questi Mondi, Galleria Carini, Prato, Italy

Hess had championed the American abstract expressionists as the heirs to European abstraction, which, as Hess argued in his 1951 book on the movement titled Abstract Painting: Background and American Phase, had formerly been centred in Paris and had recently relocated to New York: «New York becomes Paris for the art of its time, and also takes over Paris» tradition.»

Best known as a painter of monumental works in oil, Sean Scully (b. 1945) has garnered international acclaim as one of the most prominent painters in the abstract tradition, fusing the conventions of European painting with the distinct character of American abstraction.

Rebecca Salter's delicate, spectral abstractions connect with two rich traditions: the history of Japanese art and craft, of which she has in - depth knowledge, and post-war minimalist painting, exemplified best perhaps by Agnes Martin, the American artist to which she is sometimes compared.

Her work is characterised with reference to the lineage of modernist abstraction and in particular Latin American antecedents, non-representational concrete painting, thus establishing cross-cultural dialogue within this international tradition.

Despite such rough, utterly profane surfaces, it is a spiritual tradition of abstraction that Martin's work draws from: Native American folklore, religious mysticism, anthroposophist symbolism, the landscape painting of North American romanticism — and the great melting pot of New York City itself, where Martin has lived since 1975.

Clearly, Blannin is participating in that other tradition of abstraction that is connected more to Constructivism than to American Abstract Expressionism, the tradition that includes the British Constructionists and the Systems Group where the sense of «system» is a mathematical one.

She pushes the boundaries between abstraction and representation, drawing on imagery as wide - ranging as the mundane found - in - suburbia, manmade bodies of water, and sci - fi imagery, all the while referencing the great American tradition of Color Field Painting, creating a fresh language and all her own.

In fact, more than its relation to the Latin American tradition of geometric abstraction, spirituality is the connection between U.S. Minimalism and Guatemalan culture that Escobar is interested in exploring.

It enriches the abstract tradition in Western art with fresh political and spiritual content, and deepens our understanding of the background of major trends in recent African American art, from the material - loving, politically conscious abstractions of Mark Bradford to the politically and spiritually charged sculptures of Betye Saar and Vanessa German.

Hochschule fur Angewandte Kunst and Galerie Metropol, Vienna, Austria (catalogue) The Tradition of Geometric Abstraction in American Art 1930 — 1990.

Her work, on paper and canvas, is in the tradition of American modernist abstraction.

Throughout his career, Bishop has engaged European and American traditions of post-War abstraction while developing a subtle, poetic, and highly unique visual language of his own.

Punctuated by not only the Latin American tradition of Geometric Abstraction, he integrates Kinetic Abstraction, Neo-Constructivism, and Constructivism.