Sentences with phrase «as an abstract painter there»

Not exact matches

But in her work, and that of other abstract painters I've mentioned, the issue of whether there is anything already in such paintings, as opposed to what we might «read» into them, is often raised.

It should be noted that while the overall effect of Murray's work is one of abstraction, and the artist described herself as an abstract painter in an interview included in the 1987 catalogue, there are many representational elements and references in her paintings, in a stylized style emerging from cartoons, comics, and graffiti as well as from pop artists like Claes Oldenburg: works are shaped like shoes or cups and contains stylized abstracted but identifiable figuration and still - life imagery.

There has never been a better year to look at the work of Kazimir Malevich, a pioneer of abstract art often seen as the greatest Russian painter of the twentieth century.

David Reed is a grandmaster — no painter has contributed as much in terms of expanding the vocabulary of abstract painting and maintaining its relevance during this era of marginalization, although there are many in New York who currently enjoy greater status.

The Modernist painter and educator Hans Hofmann once said, «There is no such thing as representational painting and abstract painting: there is only intelligent painting and stupid painting.&rThere is no such thing as representational painting and abstract painting: there is only intelligent painting and stupid painting.&rthere is only intelligent painting and stupid painting.»

In your abstract works I see references to, or inflections of, numerous abstract painters such as Robert Motherwell, Frank Stella, even a bit of Jules Olitski and Mary Heilmann here and there.

Condo started making «drawing - paintings», where you can't distinguish e.g. paint from pastel, or a line made with a paintbrush or a line drawn in from and thus making the two mediums equal: «There's no real difference between figurative painting or abstract painting, «cause it's all painting to begin with... You don't» have to follow any rules as a painter.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

There is, in van Velde's work, a quality of indecision and incompleteness, of being improvised rather than planned, of being left in a transitional stage, in other words, of Provisionalism — as defined by Raphaël Rubinstein in his now famed article from 2009 — which makes it relevant to today's state of affairs in abstract painting as well as to the young painters loosely grouped under the name of New Casualists.

Regarding my artistic environment there, I was quite isolated and as an abstract painter I was absolutely exotic.

There won't be any more legacy of abstract expressionism, the great avant garde of mid-20th century America, when painters such as Poons are gone.

Looking at this, as at the absent Women, it seems perverse if not actually impossible to think of De Kooning how he was once seen, as an abstract painter: he was as embedded in the experience of landscape and mutable light as the American «luminist» Martin Johnson Heade had been out there among the dunes a century before.

And I think there was a point where people said, Oh, Chris Martin's an abstract painter, but I'd always been making these odd, figurative things as well.

However the questions raised make me feel there is also considerable insecurity as an abstract painter.

I'm sure there is a sense of intrigue as to what will come next, but for now we can enjoy the wonderful spaces that this former scene - painting studio houses and get a meaty glimpse of the work of a significant British abstract painter to boot.

David Reed is a grand master — no painter has contributed as much in terms of expanding the vocabulary of abstract painting and maintaining its relevance during this era of marginalization — although there are many in New York who currently enjoy greater status.