Sentences with phrase «imagists movement»

a definitive exhibition featuring the Chicago Imagists movement of the late 60s, Hyde Park Art Center has been at the forefront of encouraging Chicago - based artistic practice.

Rossi's illustration of form approaches instead the limits of the Imagist movement — with a certain inscrutable, mysterious, and sphinxlike effect.

This is an important new body of work by one of the most highly personal Chicago artists to emerge as part of the Imagist movement in the 1960s; Hanson continues to push his ideas in their investigation of color vibration, allusive connotation, and compositional density.

These artists — Roger Brown, Art Green, Philip Hanson, Gladys Nilsson, Jim Nutt, Ed Paschke, Christina Ramberg, Suellen Rocca, Barbara Rossi, and Karl Wirsum — are considered part of the post-World War II Chicago Imagist movement centered around a series of 1960s exhibitions at the Hyde Park Art Center in Chicago.

Inside the Outside, curated by Aaron Ott, addresses how Loving and Spiess - Ferris have navigated their artistic practices over the past fifty years through and alongside the influential Imagist movement.

[4] In addition, the 1951 exhibition by Jean Dubuffet and his «Anticultural Positions» lecture at the Arts Club were tremendous influences on what would become the mid-1960s Imagist movement.

The Smart Museum mounted an exhibition of lithographs, linoleum cuts, woodblock prints, and related drawings and ephemera by this artist who was highly influential in Figurative and Pop Art trends, as well as in the locally based Chicago Imagist movement.

«[The exhibition] started with a conversation that Will and I had one night in my studio about the new black imagist movement taking place,» Gibson tells the Creators Project.

Chicago imagists refused to be part of mainstream art in the 1960s, creating the Imagist movement

Paschke was known as a member of the late - 1960s Chicago Imagist movement, a group of artists who called themselves The Hairy Who, whose expressive style of figurative painting was rooted in outsider art, popular culture, and Surrealism.

Not exact matches

The work of Roger Brown — a nationally celebrated artist, innovator of the Chicago «Imagist» movement, and an Alabama native — has been exhibited many times and is held in numerous collections, public and private.

However, by the beginnings of the 1960s, leadership of the movement had shifted to the color - field and abstract imagist painters, whose followers in the 1960s rebelled against the irrationality of the Action painters.

The Hessel Collection is international in scope, with paintings, photographs, and works on paper, sculptures, videos and video installations from the 1960s to the present including notable representations from many of the foremost movements in contemporary art; Minimalism, Arte Povera, Transavantgarde, Neo-expressionism, Pattern and Decoration, The Hairy Who and Chicago Imagists, Post-minimalists, and New Media, among others.

A Shape That Stands Upfocuses on works made over the last 15 years that follow a historical lineage of artists — from Philip Guston and Willem DeKooning's dissolution of the body into line, color, and near violent gesture, to later artists, such as the Chicago Imagists, or those associated with the California Funk movement.

Originally considered one of the pioneers of the Abstract Expressionist movement, Adolph Gottlieb may be more accurately described as an Abstract Imagist a phrase coined by H.H. Arnason.

The Hessel Collection is international in scope, encompassing a wide range of media from the 1960s to the present, with representative works of major contemporary art movements including Minimalism, Arte Povera, Transavantgarde, Neo-expressionism, Pattern and Decoration, The Hairy Who and Chicago Imagists, Post-minimalists, and New Media, among others.

After exhibit organizer Don Baum mounted his last imagist show at the art center in 1971, the so - called movement became the focus of national and international exhibitions such as «Made in Chicago,» which became the U.S. entry in the Sao Paulo Bienal of 1973.

Plus there are other texts (e.g., Masterpieces of Modern Art and Abstract Expressionists Imagists) that tackle meta movements and themes.