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 Yor
OF GEOMETRIC
ABSTRACTION IN
AMERICAN ART 1930 - 1990, Whitney Museum of American Art, N
AMERICAN ART 1930 - 1990, Whitney Museum
of American Art, New Yor
of American Art, N
American 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 many
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 many
Abstraction, 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.