Sentences with phrase «imagists who»

Known best for his politically wry faux - naif paintings, Roger Brown is associated with the Chicago Imagists who were trained at the Chicago Institute of Art during the late 1960s.

It was the 1960s Chicago Imagists who were among the first to herald him.

The generation of artists known as the Imagists who succeeded the Chicago surrealists have seemed to appear sui generis from a prior cultural vacuum.

Yoshida, who encouraged the use of commercial and popular cultural imagery, led a group of artists who came to be known as the Imagists who distinguished themselves from the art scenes in New York and Europe with high color figurative paintings and drawings.

Part of a group of artists known as the Chicago Imagists who emerged in the 1960s, Paschke (1939 — 2004) was strongly influenced by media imagery and popular culture — newspapers, magazines, advertisements, film and television.

It examines not only the complex aesthetics and personal styles of Golub and his compatriots — including Cosmo Campoli, June Leaf, Dominick Di Meo, Seymour Rosofsky, and Nancy Spero, among others — but also uncovers the Monster Roster's relationships with preceding generations of Chicago artists and differences from the well - known Chicago Imagists who followed.

Not exact matches

One of Marks's summer 2015 exhibitions examined the Hairy Who, a faction of Chicago Imagists whose work drew directly from vernacular art, comics, and ecstatic pop culture, and who, in the 1960s, helped introduce Darger, Martín Ramírez, whose drawings appeared this year on a series of U.S. postage stamps, and Joseph Yoakum, a creator of fantastical landscapes, to the mainstream art worWho, a faction of Chicago Imagists whose work drew directly from vernacular art, comics, and ecstatic pop culture, and who, in the 1960s, helped introduce Darger, Martín Ramírez, whose drawings appeared this year on a series of U.S. postage stamps, and Joseph Yoakum, a creator of fantastical landscapes, to the mainstream art worwho, in the 1960s, helped introduce Darger, Martín Ramírez, whose drawings appeared this year on a series of U.S. postage stamps, and Joseph Yoakum, a creator of fantastical landscapes, to the mainstream art world.

2017 — LOG at LUMP Gallery, Raleigh, NC, curated by Maria Britton — AWKWARD MOMENTS, Lesley Heller Workspace, New York, NY 2015 — SACRED PLACES, Smithy Center for the Arts, Cooperstown, NY 2014 — MEMENTO MORI, Field Projects, New York, curated by Deborah Brown — CROWD, curated by Andrea Brown for The Outsider's Studio Collective, Liberty, NY 2013 — NYFA@GOVERNORS, curated by New York Foundation For The Arts for Governor's Island Art Fair, New York 2012 — DAY JOB, curated by Nina Katchadourian, Freedman Gallery, Albright College, Reading, PA, and Pacific Northwest College of Art, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, Jackson

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.

Category ART, FILM · Tags 356 Mission, Chicago - Style Modern Art, Christina Ramberg, Hairy Who and the Chicago Imagists, Jim Nutt, Leslie Buchbinder, Ooga Booga, Pentimenti Productions, Ricky Swallow

Their extravagantly installed exhibitions, the artists» free - wheeling individual approaches, and their varied and compelling work have all had a wide - ranging and profound influence on several generations of their students and on many younger artists since then, including such well - known figures as Chris Ware (SAIC 1991 — 93), Sue Williams, Gary Panter, and Amy Sillman — as has been documented in the recent film Hairy Who & the Chicago Imagists.

This screening of Hairy Who & The Chicago Imagists contextualizes Barbara Rossi's work by profiling the dynamic scene in which her practice took shape.

Hairy Who & The Chicago Imagists is her first film.

Though they reacted against the gestural wing of Abstract Expressionism, Noland and Louis felt an affinity with non-gestural, «imagist» branch (e.g., Clyfford Still, Mark Rothko, and, later, Barnett Newman), who all worked on a heroic scale with large fields of color and simple, often unitary, imagery.

Other topics included an influential 1983 article by Sid Sachs (University of the Arts)-- who was in the audience — on whether there was such a thing as a Philadelphia Imagist tradition; a College Art Association conference chaired by curator Judith Stein (also in the audience); the number of artists who taught and lived in both Chicago and Philadelphia (particularly Ree Morton and Rafael Ferrer); and the equal representation of men and women among the Chicago Imagists.

«I'm a big fan of the Imagists,» he says, referring to painters like Jim Nutt and Ed Paschke, who took cartoon imagery and traveled to a darker place with it.

In their dislike of being categorized and labeled, they join the ranks of many other artists, including the German Expressionists, Abstract Expressionists, Pop Artists, and Chicago Imagists, who also rejected the labels placed upon them.

On Friday 20 October 2017, at 6.30 pm, on the occasion of the launch of the exhibitions, Fondazione Prada's Cinema will host the screening of documentary «Hairy Who and the Chicago Imagists», introduced by its director Leslie Buchbinder.

1965 - 1975» depicts the energy of the cultural environment of this American city as a center for figurative production, as well as the heterogeneity of the contributions of some artists known as Chicago Imagists (Roger Brown, Ed Flood, Art Green, Gladys Nilsson, Jim Nutt, Ed Paschke, Christina Ramberg, Suellen Rocca and Karl Wirsum), who had identified the roots of their personal research in Surrealism and Art Brut, in a way that anticipated the new tendencies of the 80's and 90's, from Graffiti to Street Art, from wild cartoons to urban murals.

An early member of the Chicago - based 1960s collective the Hairy Who (which later morphed into the Chicago Imagist Group), Wirsum's works speak widely to the canon of modern artists who privilege experimentation and transgression over cohesive style, and who used popular culture as if the boundaries between high and low had never existWho (which later morphed into the Chicago Imagist Group), Wirsum's works speak widely to the canon of modern artists who privilege experimentation and transgression over cohesive style, and who used popular culture as if the boundaries between high and low had never existwho privilege experimentation and transgression over cohesive style, and who used popular culture as if the boundaries between high and low had never existwho used popular culture as if the boundaries between high and low had never existed.

The closest thing to a formal group within the latterly identified Imagists camp was a party of six artists known as The Hairy Who, featuring Jim Nutt, Karl Wirsum and Art Green among others.

Though she was sometimes lumped with the Chicago Imagists — artists like Gladys Nilsson, Jim Nutt, and Roger Brown, who were her friends and fans — Ito was always working against the grain.

As a founding member of Chicago's famed Hairy Who (a group of figurative painters often subsumed under the banner of the Chicago Imagists whose ranks also include Karl Wirsum and Suellen Rocca among others), Nilsson is hardly unknown, but these 12 «monumentally - scaled» paintings made between 1984 and ’87 represent a selection of her later work that often goes unremarked upon in favor of focusing on her output from the 1960s.

The contorted shapes vaguely recall Anthony Caro's bolted and welded forms, John Chamberlain's crushed sculptures, Mark di Suvero's abstract expressionist configurations, and Louise Nevelson's accumulated assemblages, just as they can be seen to incorporate the collagist aesthetic of the Chicago Imagists of the 1960s, who combined disparate art historical styles and techniques.

Roger Brown was a prominent member of the Chicago Imagist group, a cohort of artists working in the late 1960s onward who embraced figurative subject matter, unconventional and often «low brow» source material, and personal biography in their artistic practice.

He attributes his fondness for neon colours to skateboard graphics from the early «90s, and to the influence of Pop painters such as Peter Saul and the Chicago Imagist Barbara Rossi, who taught at the School of the Art Institute of Chicago where Curry studied as an undergrad.

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.

A screening of the documentary film Hairy Who and the Chicago Imagists.

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.

Her skill with fragmenting figures and love of double entendre coupled her with the likes of the Chicago Imagists and the Hairy Who, along with whom her work was often displayed.

Drawing from the museum's permanent collection, the exhibition presents works by artists who influenced the Imagists or were influenced by them.

The survey also includes works by the Chicago Imagists» mentor, Ray Yoshida, and Robert Lostutter, a close friend of Paschke who did not show with the groups but is closely affiliated with the Imagists in his eccentric style and expression.

Who Chicago» An Exhibition of Chicago Imagists, Sunderland Arts Centre, Ceolfrith Gallery, England; and traveling to Camden Arts Centre, London; Third Eye Centre, Glasgow, Scotland; The Scottish National Gallery, Edinburgh; The Welsh Arts Council, Glynvivian Gallery, Swansea, Wales; Institute of Contemporary Art, Boston, MA; Contemporary Arts Center, New Orleans, LA

The exhibition offers a broad cultural framework in which to consider the work of the artists who became known as Chicago Imagists.

Recognizing a renewed interest in the Imagists among contemporary artists who, rather than obscure or reject their connection to them, prized it, she isolated a certain look or feel that many of those artists shared with the Imagists.

Nutt's history as an important artist dates to the mid-1960s where in Chicago he was a chief instigator of the irreverent «Hairy Who» group, now better known as the Chicago Imagists.

This beautifully animated documentary highlights a potent yet oft - overlooked group of artists working in the»60s and»70s who called themselves the Chicago Imagists.

Nutt's history as an important artist dates to the mid-1960s where in Chicago he was a chief instigator of the irreverent «Hairy Who» group, now better known as the imagists.

On May 20th at 6 pm The MCA Chicago will host the premier of Hairy Who & The Chicago Imagists, followed by a discussion with artists Gladys Nilsson and Art Green, director Leslie Buchbinder, writer John Corbett, and MCA curator Lynne Warren.

Hairy Who & The Chicago Imagists is the first film to tell this wild, woolly, utterly irreverent tale.

Sharrow has been thought of often as being a part of the «Chicago School» of imagist painters, fitting generationally into the «Monster Roster» group of artists from that city, including the most well - known of her classmates who lead the charge of image and ideas over pure abstraction, Leon Golub and Nancy Spero.

Rossi, who spent several years as a Catholic nun before becoming an artist, was a member of the Chicago Imagists, an influential group defined by their common interest in non-Western and popular imagery, a dedicated pursuit of vivid and distorted figurative work, and a fondness for pop imagery and wordplay.

When I moved to Chicago, I discovered Peter Saul, who has had a big influence on me, as well as the Chicago Imagists.

★ Karl Wirsum (through Nov. 16) In the 1960s when he was a member of the Chicago imagist group the Hairy Who, Karl Wirsum made graphically bristling paintings resembling banners for an underground freak show.

Artistically, I was immediately drawn to the Chicago Imagists and the Hairy Who, with artists like Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocc, Karl Wirsum, and Ray Yoshida playing a pivotal role.

Paintings fuse the weirdness and kitsch of the Chicago Imagists with the painting chops of the old masters in an exhibition that seems particularly rewarding for viewers who prefer to get lost in images rather than read related research documents and wordy wall labels.

As Michael Ned Holte writes, Bad Brain draws on the artist's «teenage fondness for Eddie, the skeletal mascot of Iron Maiden, and the gnarly skull drawings of Pushead, who provided artwork for Metallica t - shirts and Texas - based Zorlac skateboards; his eventual encounters with the weird figuration of the Chicago Imagists, the Hairy Who and the oozing faces of Peter Saul during his time in Chicago; and still later his close encounters with Richard Hawkins and Mike Kelley... who provided support and encouragement for mining the margins (if not broad middle) of culture.&raqwho provided artwork for Metallica t - shirts and Texas - based Zorlac skateboards; his eventual encounters with the weird figuration of the Chicago Imagists, the Hairy Who and the oozing faces of Peter Saul during his time in Chicago; and still later his close encounters with Richard Hawkins and Mike Kelley... who provided support and encouragement for mining the margins (if not broad middle) of culture.&raqWho and the oozing faces of Peter Saul during his time in Chicago; and still later his close encounters with Richard Hawkins and Mike Kelley... who provided support and encouragement for mining the margins (if not broad middle) of culture.&raqwho provided support and encouragement for mining the margins (if not broad middle) of culture.»

For example, the exhibit's third section, «The Entry of the Imagists Into Chicago, 1966 - 1976,» may be dominated by the Hairy Who and their acolytes — it's named after Roger Brown's The Entry of Christ Into Chicago, a comic riposte to early expressionist James Ensor's The Entry of Christ Into Brussels (Brown has Christ parading down Michigan Avenue on a flatbed truck)-- but that's only part of the segment's story.

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 Surrealiwho called themselves The Hairy Who, whose expressive style of figurative painting was rooted in outsider art, popular culture, and SurrealiWho, whose expressive style of figurative painting was rooted in outsider art, popular culture, and Surrealism.

Traveled to Illinois Art Gallery, Chicago (catalogue) 1968, Betty Rymer Gallery, The School of the Art Institute of Chicago Second Sight: Printmaking in Chicago 1935 — 1995, Mary and Leigh Block Gallery, Northwestern University, Evanston, IL 1994 Garden of Earthly Delights, Phyllis Kind Gallery, Chicago Chicago Imagism: A 25 Year Survey, Davenport Museum of Art, IA 1993 Imagery, Incongruous Juxtapositions, Phyllis Kind Gallery, Chicago 1992 From America's Studio: Drawing New Conclusions, Betty Rymer Gallery, The School of the Art Institute of Chicago (catalogue) 1991 Distorted Figuration, Evanston Art Center, IL 1990 The Mary Jean Thomson Collection, College of Lake County, Grayslake, IL Portraits of a Kind, Phyllis Kind Gallery, Chicago 1989 Birthday Cake: 50th Anniversary Exhibition, Hyde Park Art Center, Chicago 1987 Chicago Imagist Print, David and Alfred Smart Museum of Art, the University of Chicago Drawings of the Chicago Imagists, Renaissance Society, University of Chicago 1983 Nilsson, Nutt, Paschke, Rocca and Wirsum, Galerie Bonnier, Geneva Contemporary Chicago Imagists, Merwin and Wakely Gallery, School of Art, Illinois Wesleyan University, Bloomington, IL 1982 Chicago on Paper, Ray Hughes Gallery, Brisbane, Australia From Chicago, Pace Gallery, New York Hot Chicago, Douglas Drake Gallery, Kansas City, MO 1980 Who Chicago?