Sentences with phrase «field painting began»

Along with John Hoyland, Walter Darby Bannard, Larry Zox, Ronald Davis, Ronnie Landfield, John Seery, Pat Lipsky, Dan Christensen [29] and several other young painters a new movement that related to Color Field painting began to form; eventually called Lyrical Abstraction.

Not exact matches

He says this matter - of - factly as you begin walking through a scrubby field to an old white farm house, ramshackled and sagging, in need of paint, but generously proportioned and graced with a wraparound veranda.

Among a new generation of abstract painters who emerged combining color field painting with expressionism, the older generation also began infusing new elements of complex space and surface into their works.

Rothko is most well - known for his color field paintings, which he began painting in the late 1940s.

Before I began my fifteen series paintings, 9» x 6», large open fields with 4» borders I made a group of nine or ten large hard edge paintings in mostly primary colors and some smaller ones a few of which were in black and white.

Each canvas began with a grounding field of fluorescent pink, down which Howard methodically dragged strips of deep Alizarin Crimson oil paint, using a T - square to shape the precise edges.

On the Bowery I made drawings for word - poem paintings that never got made and I began a series of 8» square border paintings with fields painted with rollers.

As much as he wrote about art during his lifetime, as in his book, The Artist's Reality: Philosophies on Art, written about 1940 - 41, he began to stop explaining the meaning of his work with his color field paintings, claiming that «Silence is so accurate.»

During the summer of 1966 Dan began his series of 100» square, bar paintings that were generally in two colors; fields of rich earthy colors and bars which were usually green, black, brown or gray.

During the later phases of Color Field painting; as reflections of the zeitgeist of the late 1960s (in which everything began to hang loose) and the angst of the age (with all of the uncertainties of the time) merged with the gestalt of Post-Painterly Abstraction, producing Lyrical Abstraction which combined precision of the Color Field idiom with the malerische of the Abstract Expressionists.

In the late 1960s Richard Diebenkorn began his Ocean Park series; created during the final 25 years of his career and they are important examples of color field painting.

Mario Canali — Born in Monza, Milan, Italy — Began his artistic career in 1975, devoting the first ten years to painting — In 1985, he turned his attention to electronic and digital art and is considered a pioneer in the field — Recognized as a forerunner in the development of interactive installations and his -LSB-...]

He liked the effect, and made it his own, combining the wiped marks with sprayed loops to create complex abstract fields that began to look, squinted at from a distance, like black and white reproductions of paintings by Franz Kline or de Kooning.

Bustamante's first paintings based off of photographs marked the beginning of this medium in the art field.

The series, which Marden began painting in 1973, inspired by his trip to Greece, has been hailed by many, including Roberta Smith, for whom its «seemingly flat monochrome fields were constantly flipping open, yielding suggestions of light and space and moody atmosphere.»

And there was also a change in Helen's work at the beginning of the 1960s, moving it toward the Color Field painting with which she would become most associated.

Still & Art begins with Still's acknowledgment of Old Masters he admired (among them Leonardo da Vinci, Rembrandt, J.M.W. Turner, and Vincent van Gogh); progresses to his interrogation of near - contemporaries such as Max Ernst and Pablo Picasso; and concludes with epic canvases, pastels, and photographs that reveal the artist meditating on his own past production as well as the spirit of color - field painting, minimalism, and comparable avant - garde movements of the 1960s and»70s.

You then came to New York in 1954, at a time when Abstract Expressionism was hitting its late peak and beginning to transition into Color Field painting, Pollock was gone, and de Kooning was leaving for the Springs.

In his later years, this interest was more important for the artist, who began to paint in smaller strokes, building the decorative surface of the canvas with broad fields of color.

This «paintersculptor», as Castoro called herself, began her career in the field of graphic art but soon became interested in dance, from which she acquired the conception of space, later turning to painting and then sculpture.

Composed of 196 panels, each consisting of 25 coloured squares that can be arranged in 11 core configurations, this work pursues the artist's early investigation of colour field paintings which he began creating in 1966 by replicating, in large scale, industrial colour charts produced by paint manufacturers.

The heavy materiality of Mountains of the Moon had enabled a diaphanous chromatic lightness, but around this time he began to explore much subtler interfusions of hue in paintings like Snow Morning (1959) and Golden Day (1960), which seem to anticipate color - field paintings such as Jules Olitski's works of the mid -»60s.11

Painted within the logics and systems of color field paintings, the works» repeated motifs, when seen all together, begin to mimic the designs of Dutch wax - printed fabric.

In about 1959/1960 he started making lines on fields, this was the beginning of his own work, paintings that were their own and understandable all at once, immediate.

Works such as Yodel Me Back to Orville Overhaul (1998) extends the vocabulary that Wirsum began in the 1970s, which combined motifs from graphic illustration and comics with hard - edged geometric patterns and designs that spoke to the flat horizontality of Color Field Painting as well as the intricate patterns and rhythms of Latin American and Oceanic folk art.

She has recently begun to approach painting as an expanded field, placing her canvases in the context of multimedia installations that include moving images, sculpture, and performances.

Hard - edge painting, geometric abstraction, appropriation, hyperrealism, photorealism, expressionism, minimalism, lyrical abstraction, pop art, op art, abstract expressionism, color field painting, monochrome painting, neo-expressionism, collage, intermedia painting, assemblage painting, digital painting, postmodern painting, Neo-Dada painting, shaped canvas painting, environmental mural painting, traditional figure painting, landscape painting, portrait painting, are a few continuing and current directions in painting at the beginning of the 21st century.

Abstract, Color Field, and Minimalist painter whose most famous pieces include Beginning (1958) and Bridge (1964), Kenneth Noland has been recognized as one of the most important figures of post-abstract-expressionist painting.

The museum's beginnings date back to 1993, when antique dealer Scott Wilson spotted an oil painting in the trash — the now iconic Lucy in the Field with Flowers.

An innovative colorist, Kenneth Noland began his career as an Abstract Expressionist, became one of the first practitioners of Color Field painting as part of the Washington Color School, and ultimately embraced a Minimalist approach that comprised vivid color and simple geometric shapes.

Within twelve years after her first class at American, she began creating Color Field paintings, inspired by the work of the New York School and Abstract Expressionism.

Originally from Louisiana, Benglis moved to New York in the mid-1960s and began her career as a painter influenced by Minimalism and Color Field painting.

Gina began making abstractions in the studio and I began making large collages in acrylics; the colors I added became less about enhancing the colors in the subject and more about making new relationships emerge from the field — in this sense I see myself going back to the way I worked in «Night», although now including work from observation (I start the collages with painting outdoors).

She witnessed first hand painting's resurgence in the 1980s through the vibrant Köln - based art scene, where radical and experimental approaches to painting by artists such as Martin Kippenberger and Albert Oehlen began a dramatic expansion of the field.

After moving to New York in late 1960s, Bowling's painting began to turn to abstraction — the field in which his contributions have been most significant.

Teaching at the Catholic University in Washington DC with the painter Morris Louis, Noland began to experiment with geometric shapes, these evolving into the unbroken areas of pigment which would give their name to Colour Field painting, the dominant school of American abstraction after Pollock.

Following this move to New York, Bowling's painting began to turn to abstraction — the field in which his contributions were to be most significant.

Shortly after leaving Shanghai, Tobey began painting little fields of white calligraphic marks on colored backgrounds.

The late 1940s marked the beginning of his color field paintings or «multiforms», works for which he is known.

This shift broke into movements of minimalism, color field painting and op art, which began to reference each other.

Group Exhibitions 2016 Regrouping, Edward Thorp Gallery, New York, NY Spaced, Edward Thorp Gallery, New York, NY Philadelphia Painters, Kutztown University, Kutztown PA 2015 Summer Group Exhibition, Edward Thorp Gallery, New York, NY Haunted Summer, One Mile Gallery, Kingston, NY The Nothing That Is: Chapter 1 DDDRRRAAAWWWIIINNNGGG, CAM Raleigh, Raleigh, NC (Curated by Bill Thelen and Jason Polan) Paintings in Trees, The People's Garden, Brooklyn, NY 2014 Mark DeLong and Sarah Gamble, Edward Thorp Gallery, New York, NY Katherine Bradford and Sarah Gamble, Adams / Ollman Gallery, Portland, OR Listening In: Philly Artists Speak, Abington Art Center, Philadelphia, PA (with Grizzly Grizzly) Begin Where You Are, Crane Arts, Icebox Project Space, Philadelphia, PA Love's Industrial Park, Salena Gallery, Long Island University, Brooklyn Campus, Brooklyn, NY Between Matter and Experience, Presidents Gallery, University of the Arts, Philadelphia, PA Underdonk Selects, Underdonk Gallery, Brooklyn, NY 2013 Reprefantasion: Abstracting Reality / Representing Fantasy, Fleisher / Ollman Gallery, Philadelphia, PA Drawing Down the Moon, Vox Populi Gallery, Philadelphia, PA Group Show: Paintings and Drawings, Edward Thorp Gallery, New York, NY Love's Industrial Park, Grizzly Grizzly, Philadelphia, PA Psychedelphia, Pageant Soloveev Gallery, Philadelphia, PA Season Review: Selected Artists, Edward Thorp Gallery, New York, NY 2012 Assembly 2012, Edward Thorp Gallery, New York, NY First Contact, Field Projects Gallery, New York, NY Peep, A Curious Look Into Painting, Little Berlin Gallery, Philadelphia, PA 2011 Free Range: Painting at the University of Pennsylvania, University of Pennsylvania, Morgan Gallery, Philadelphia, PA 2010 Lee Arnold, Sarah Gamble, Andrew Gbur, Fleisher / Ollman Gallery, Philadelphia, PA Philadelphia Painters, The Painting Center, New York, NY Places, Everyone, Cross McLeaf Gallery, Philadelphia, PA 2009 Art of the State, Pennsylvania Museum of Art, Harrisburg, PA Former AIR, Bemis Center for Contemporary Art, Omaha, NE 2008 Philagrafika Invitational Portfolio, University of the Arts, Philadelphia, PA Vision Quest, School 33 Gallery, Baltimore, MD 2007 Sarah Gamble and Terra Fuller, PS122 Gallery, New York, NY minty, VoxPopuli Gallery, Philadelphia, PA 2006 New Trends in Painting, Concordia University, Seward, NE Omaha Hobo Showbo, Bemis Center for Contemporary Art, Omaha, NE Wrote For Luck, Kouros Gallery, New York, NY 2004 Voxenniel, Vox Populi, Philadelphia, PA Bad Touch, Lump Gallery, Rose Museum at Brandeis, Rose Museum at Brandeis University 2003 The New Acropolis, Fleisher / Ollman Gallery, Philadelphia, PA

Well known for her approach situated in Color Field painting, Gualdoni begins her paintings by pouring acrylic paint directly onto the canvas, creating overlapping layers of capricious and unpredictable ground.

This exhibition explores the highly formulated and transitional status of geometrical abstraction in the work of women artists from three generations: beginning with (Neo) concrete works on paper from the 1950s by Lygia Pape, to Minimal and Color Field paintings from the 1960s by Rosemarie Castoro and Gina Pane, the 1960 - 80s Pop Art influenced pattern paintings by Barbro Östlihn, to post-Concretist installations, structural and systemic experiments and text pieces from the 1970s and 80s by Lydia Okumura, Lenora de Barros, Martha Araújo, Dóra Maurer and Samia Halaby, to the original contemporary formulations of this history by Paloma Bosquê.

Working large and painting on the floor, Clark's works have been compared to color field and post-abstract painters and have remained true to the influences of his Abstract Expressionism beginnings throughout his career.

Beginning each painting with a low - tech computer drawing, Bauer develops his work through a complicated process incorporating hands - off painting techniques such as stenciling, silk - screening and spraying that translate digitized graphics towards sublime fields of painterly abstraction.

Zox began to receive attention in the 1960s, when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler and Frank Stella for Tibor de Nagy, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Guggenheim Museum.

It began as a large color field painting, an experiment with color.

The Phillips» collection began as a museum of modern art, exemplifying Paris - based European art movements such as French Realism (c. 1850 onwards) Impressionism (c.1873 - 83), Post-Impressionism (c. 1880 onwards), Fauvism, Intimism, Expressionism, Primitivism, Symbolism, and Cubism, before taking on 20th century styles such as Precisionism, American Realism, Ashcan School, Abstract Expressionism, Colour Field painting, Kinetic art, and geometric abstract art.

I stopped doing the Color Field paintings and began making monochromatic encaustic work.

That's the reason why the painting in the show is not just a discourse about and among painting, per se, but painting resulting and reflecting from all mediums and fields of disciplines, including all of the things that were part of the beginning of the consuming and technological culture of the»60s.