Sentences with phrase «figuration at»

Whenever people seem perturbed by these transitions, I'm reminded of Philip Guston or Richard Diebenkorn, who famously made a name for himself as an Abstract Expressionism guy and then began doing very sensitive, thoughtful, observed figuration at a time when it was extremely unfashionable to do so.

It wasn't easy for the Dublin - born Sean Scully to make the abstract work that he did in the 1980s; given the trend toward figuration at the time, he was paddling hard against the tide.

Contemporary Figuration at Abend Gallery will surely satisfy the variety of aesthetic preferences and it will feature a great number of artists.

Currently on view is a densely hung exhibition of figurative work called «CON - Figuration,» a big, bawdy show of digital collage, painting, woven tapestries of porn web pages, and... read more... «Lunchtime dystopia: CON - Figuration at Postmasters»

Best known for his cartoonish paintings and drawings from the late 1960s onwards, Philip Guston audaciously returned to figuration at the height of Abstract Expressionism.

This exhibition and its accompanying catalogue aim to present a comprehensive view of Diebenkorn's evolution to maturity, focusing solely on the paintings and drawings that precede his 1955 shift to figuration at age 33.

The exhibition New Figuration at Hadrien de Montferrand Gallery in Beijing presents works by the artists Chen Han, Guo Hongwei, Lu Chao, Zhang Shujian, and Zhu Xinyu.

The exhibition New Figuration at Hadrien de Montferrand Gallery in Beijing presents works by the artists Chen Han, Guo Hongwei,...

Jukkala says, «Didier's artistic practice connects with the deep traditions of painting, drawing, printmaking and figuration at PAFA.

Not exact matches

His viewpoint is exactly the opposite: it is in the Old Testament that priesthood and sacrifice were taken in the metaphorical sense, as they are there applied to an impotent and symbolic figuration, while in the mystery of Christ these words have at last obtained their real meaning, with an unsurpassable completeness.»

It both brought him to the attention of a wider public at a time when Abstract Expressionism still held sway in the eyes of the New York art world, and it documented, step - by - step, his transition from abstraction to figuration.

Istomina begins: «Henry Taylor's painting has often been discussed in the context of outsider art not only because of his vivid and somewhat reductive figuration, but because of his biography: the youngest of eight children raised by a single mother in Oxnard, California, he held several jobs unrelated to art, including a ten - year stint as a technician at a psychiatric hospital, and didn't earn his BFA until he was in his mid-thirties.

SL: But meantime the Bay Area painters were doing something on their own, forming a so - called figurative, Bay Area figuration, at this point.

They can just go right into figuration... Ultimately it all boils down to this criterion: «Are the paintings interesting enough for you to want to walk into the gallery and look at them?»

Wednesday, Xaviera Simmons unveils a new series of body - centric work at The Kitchen and Booth Gallery is (by happy coincidence) hosting a panel discussion on the future of figuration right afterwards.

The heads are a perfect illustration of the dual mission Mr. Marshall has been pursuing with a kind of holy fervor for almost 40 years now: building a sturdy bridge for figurative painting from the 15th century to ours, over treacherous spans of recent history that declared both figuration and painting to be finished — and at the same time trying to rewrite history itself.

Villar Rojas's installation at the Serpentine Sackler therefore provides the perfect chronological extension to Merz's conception of the non-heroic in art by prioritising the site and the viewer, while still making reference to two of the older artist's key concerns: the figuration - abstraction binary and the focus on «raw» materials.

Diverse in size and subject, the works at once bear witness to everyday life and to far - flung moments from history, mediating between realism and fantasy, figuration and quixotic decorativeness.

The painter Nina Chanel Abney, now 35, has been on a tear since she first unveiled her visceral fusions of abstraction, figuration and politics at the Kravets Wehby Gallery in Chelsea in 2008.

From the chambers at Knossos to the villas and municipal structures of Rome, from medieval and Renaissance ecclesiastical architecture to Baroque courts and palaces the mural was a primary vehicle for pictorial space, the wall the substrate of choice for public - scale allegorical figuration both secular and sacred.

Explore Lee Krasner's journey from figuration to abstraction through close looking at two of her works: Self - Portrait (1930) and Untitled, from the Little Images series (1948) in this gallery talk by Jenna Weiss, Manager of Public Programs.

Ranging in date from the late nineteenth century to the present, and representing some forty artists from Henry Ossawa Tanner (1859 — 1937) to Njideka Akunyili Crosby (b. 1983), the works present diverse and at times unexpected methods of figuration, from the traditional (the portrait bust) to the experimental, and show subjects who come from the realms of both the celebrated and the anonymous.

His pictures stand between abstraction and figuration and he is, in his own words (which he has tired of hearing thrown back at him) a figurative painter of emotional situations.

The most remarkable thing about his career is how clearly it divides into three distinct phases: he started as an abstract artist in the late 1940s and early «50s, was enormously celebrated even in his twenties, and at the height of his success he then moved into figuration in 1955 following a move to Berkeley, California.

Figure a Subject: Revival of Figuration Since 1975, Selections from the Permanent Collection, Whitney Museum of American Art, New York, NY The Weisman Collection, California State University at Fullerton, Fullerton, CA

Morley has been at the heart of the contemporary debates about painting, its authenticity and surface, and the validity of figuration versus abstraction.

Legacy in Continuum: Bay Area Figuration, on view at the Bakersfield Museum of Art from March 22 through May 27th is an exhibition that demonstrates the continuing impact of a very engaging, flexible style.

It was a diverse scene that held out a hint of utopian promise at a time when Abstract Expressionism was waning and new categories had not yet hardened: It included many more women than the uptown art world; it was not completely white; abstraction and figuration jostled side by side (if not always comfortably), along with genre - bending sculpture; and the gloriously messy birth of modern performance art took place in the midst of it all.

At the time, Andersson was not well known in the States, yet it was immediately clear that her paintings epitomized an approach to form that could be characterized in Ferguson's terms: Old dichotomies of abstraction and figuration had been erased, and art history had become available as a kind of stylistic smorgasbord to be drawn on at wilAt the time, Andersson was not well known in the States, yet it was immediately clear that her paintings epitomized an approach to form that could be characterized in Ferguson's terms: Old dichotomies of abstraction and figuration had been erased, and art history had become available as a kind of stylistic smorgasbord to be drawn on at wilat will.

At least since the days of Delacroix and Manet, painting has vacillated between figuration and abstraction, with attention sometimes given to the smears of paint and at other times to the object those smears depicAt least since the days of Delacroix and Manet, painting has vacillated between figuration and abstraction, with attention sometimes given to the smears of paint and at other times to the object those smears depicat other times to the object those smears depict.

Drawing largely on discarded refuse, Bhabha's sculptures, many of which are mounted on pedestals or plinths, tow the line between figuration and abstraction, often hinting at a recognizable object while simultaneously shying away from any such form.

For a while now Amy Sillman has been one of the most exciting painters working in America, creating bravura canvases that poke fun at the orthodox distinctions between figuration and abstraction, messing it all together into a humorous, thought - provoking, and often sexy stew.

Curated by Glen Cebulash, Chair of Art and Art History at Wright State University, Realism and Its Discontents confronts artists» commitment to what they term «Post Abstract Figuration» and its new configuration in the face of most contemporary gallery art tendencies.

Further evolution of these Inpaintings led to the creation of pieces, specifically designed to explore the borders between abstraction and figuration, like Two Women at Table.

Jean - Christophe, Stephan Balkenhol: 57 Penguins / 57 Pinguine, Parkett 36, pp. 66 - 69 Benezra, Neal, Stephan Balkenhol: The Figure as Witness / Die Figur als stummer Zeuge, Parkett 36, pp. 37 - 41 1992 Ammann, Jean - Christophe and Horst Schmitter, 57 Pinguine suchen 57 Freunde, advertisement, Frankfurter Allgemeine Zeitung, 30 April, pp. 110 - 111 Searle, Adrian, Not Waving, Not Drowning, Frieze 4, April - May, pp. 17 - 20 Fleissig, Peter, Stephan Balkenhol, Juan Munoz at the Hayward, Doubletake and the New Tate Re-Hang, exhibition review, Hayward Gallery, London, England, City Limits 5, No. 12, February - March, p. 18 Stringer, Robin, Why Cant You Dummies Just Let Me Be Alone, London Evening Standard, London, England, 28 February Bourriaud, Nicholas, Figuration in an Age of Violence, Flash Art, No. 162, January - February, pp. 87 - 91 Cork, Richard, Do You See What I See?

Here, you've mentioned how in these shows artists were taking a variety of approaches simultaneously, with figuration and abstraction oscillating and with every sort of style going on at once.

When I was a young man, leaving my student days behind and coming into the professional art world at the beginning of the «60s, the problem was that figuration had run out of steam — it had hit the buffers.

He boarded a bus to New York, where he enrolled at Cooper Union, and explored an oil - based expressionism and loose figuration, reminiscent of apparitions in glass.

The work hints at figuration from one level removed where crassly simplified outlines have been bulbously inflated.

When he first started showing his work in the early 2000s, Wiley's reversals of classical figuration were an outlier at a time when most painters dealt in abstraction.

Laura Owens's work on display at the Dallas Museum of Art challenges assumptions about figuration and abstraction, as well as the relationships among avant - garde art, craft, pop culture, and technology.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

It may come as a surprise that Rashid Johnson's show «Anxious Men,» on view through December 20th at the Drawing Center, features some of the artist's first forays into figuration outside of his photographs and films.

Oriented around imagery of the human body, Mutu's work aims at a visual deconstruction of traditional figuration, reconciling the experience of her Kenyan upbringing with present - day American realities.

After creating the first plate painting in New York City in 1978, critics championed Schnabel at the time for heralding in the «return» of painting, and the works featured in this exhibition are emblematic of Schnabel's continued exploration of materiality and figuration.

The work from these years infuses Abstract Expressionist materialism with playfulness, figuration, and a spirit that is at once everyday and dramatically artificial, in a picture of the 50s radically different from the commonplace image of big egos and broad strokes.

This young, New York - based Russian artist works through figuration to arrive at paintings full of uncertainty and emotional energy.

This means that the distribution of colors is entirely random, privileging chance and abstraction at the expense of figuration or painterly touch.

I bring up Alex Katz, a painter who bucked the postwar fashion for abstract expressionism in favor of figuration, and who at 90 is still painting, who likes to say that he's better at it now than ever before.

This includes paint (another tool at her disposal); Color Field painting; the brushstroke, squiggle, and line; Chinese and Japanese art; Indian miniatures; abstraction; figuration; abstract illusionism; inspirational posters; children's book illustrations; greetings cards; thrift store merchandise; wheels from bicycles, go carts, and strollers; buttons; embroidery and appliqué; mythology; essays on other artists.