Sentences with phrase «many other abstract artists»

The term was first formulated by Theo van Doesburg and was then used by him in 1930 to define the difference between his vision of art and that of other abstract artists of the time.

Along with other abstract artists, she asks what painting in the present can still add.

In this regard, Newman stood apart from the other abstract artists of his generation.

It is in the painting itself that Burckhardt, who was born in 1964, distinguishes himself from other abstract artists of his generation.

Staining was soon adopted by many other abstract artists, especially Morris Louis and Kenneth Noland, and helped to inspire what came to be known as Color Field painting.

Let's see, the other abstract artists I met there — see when I joined the Artists Union in 1936 the Spanish War broke out.

It is interesting that people like Jackson Pollock and other abstract artists said they listened to jazz.

I saw the work of other abstract artists connected to Hunter, Ray Parker, Doug Ohlson, and Robert Swain, but I never saw a show of Wurmfeld's work and began wondering about it.

Famous for his brutal brushwork, impasto textures and clashing colours, he exemplified the «gestural painting» style of the New York School, along with other abstract artists like Franz Kline (1910 - 62), Jackson Pollock (1912 - 56) and Lee Krasner (1908 - 84), the founders of «action painting».

These established Synchromism as an influence in modern art well into the 1920s, [4] though followers of other abstract artists (principally, the Orphists Robert and Sonia Delaunay) were later to claim that the Synchromists had merely borrowed the principles of color abstraction from Orphism, a point vehemently disputed by Macdonald - Wright and Russell.

• For biographies of other abstract artists of the New York School, see: 20th Century Painters.

One of the problems is that when works like Heilmanns receive praise for their wit and ingenuity, it downgrades the expectations and ambitions of other abstract artists; so that now, any number of painters think that slapping a few lines and shapes around on a canvas, in a manner that vaguely represents something or other — place, memory, feeling, whatever — constitutes an abstract painting, in which it is the very ambiguity of the work which constituting the «abstract» bit.

As it happens, along with Steir, Chelsea was showing two other abstract artists from the recent past often derided as decorative and illustrative, and one even willingly fades to black.

It is such a rich source, why would anyone want to cut all links; and suggest every other abstract artist should do the same.

Andrew has got at quite a lot of my meaning in his latest comment — I don't think it is possible technically to seriously match the spaces Robin is raising as a comparison — and beating down other abstract artists with — with the means with which he limits abstract painting, the means by which abstract painting, or at least a substantial tranche of it has traditionally been limited.

Other abstract artists whose works were grounded in nature include Manoucher Yektai, who absorbed the ideas of abstract expressionism and the School of Paris; Sohrab Sepehri whose semi-abstract compositions drew on imagery of desert landscapes from his native Kashanor; and Abolghassem Saidi known for his lyrical and sensuous style.

The other abstract artist who was working independently of Pop Art, Minimalism and Color Field painting during this period was, of course, Nicholas Krushenick.

Not exact matches

Painted in 1939, just before the outbreak of World War II, it then represented a new line for Picasso, whose abstract techniques have done more to influence 20th century painting than that of any other artist.

You refer to these as «abstract» or «geometric», and there are various examples of zigzags and dots adorning other caves, but the thing that sets these apart from images of bison and antelope, or shapes of hands, is that they are visual representations of something that the artists could not have witnessed.

Some artists searched in a figurative direction (Die Brücke / The Bridge), others in a more abstract way of expression (Der Blaue Reiter / Blue Rider).

Many represent popular art of famous artists, and others are more abstract.

Included in the collection are specially commissioned works by portraitist Gilbert Stuart, contemporary abstract painter Maggi Brown, Martha Lloyd, Joe Greene, Tony Evanko, Ben Freeman, and other artists whose works are featured in guestrooms and throughout the hotel.

While a younger generation of artists, led by Katharina Grosse, Carol Bove, and others, are finding renewed significance and surprising rewards in extemporaneous abstract painting and sculpture, certain veterans like Emily Mason never lost faith in its limitless possibilities.

The perceived irrationality of Spiritualism has in the past been used as an excuse to systematically belittle the importance of Houghton (and other female artists such as Hilma af Klint) within a history of abstract art.

The abstract, ethereal work of these young artists is rooted in popular culture, design, fashion, color theory, and other modes of expression.

Like other young artists trying to define themselves in the wake of abstract expressionism, Martin first experimented with found assemblages of detritus from the lower Manhattan docks.

During the early to mid-1960s Color Field painting was the term for the work of artists like Anne Truitt, John McLaughlin, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Friedel Dzubas, Jack Bush, Howard Mehring, Gene Davis, Mary Pinchot Meyer, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Robert Goodnough, Ray Parker, Al Held, Emerson Woelffer, David Simpson, and others whose works were formerly related to second generation abstract expressionism; and also to younger artists like Larry Poons, Ronald Davis, Larry Zox, John Hoyland, Walter Darby Bannard and Frank Stella.

From Norman Lewis to Joe Overstreet, the Harlem Renaissance — derived tradition of African - American abstract painting (which has historically had a primarily black audience) is intermingled with the tradition of so - called self - taught or outsider artists such as Bill Traylor and Bessie Harvey (whose audience has been mostly in the rural south and mostly black); the more recent wave of African - American conceptualism represented by Adrian Piper, Lorna Simpson, and others (whose work

Abstract paintings may be made using many media, with many artists using acrylics, while others prefer to create abstract oil paintings or abstract watercolor paintings.

Are the Asian - American artists inspired by abstract expressionists, or are they drawn to the Asian elements of the style, in turn appropriated from Chinese, Japanese and other non-western art and culture, from calligraphy, Sung painting and Zen Buddhism, from John Cage and DT Suzuki, from the Gutai artists and Sung painting?

Continuing the Warholian reference, on show will be a series of large scale unique silkscreened portraits of the artist as Che Guevara, Joseph Beuys, Elvis Presley amongst others, as well as works based on Warhol's urine oxidation paintings, abstract works made by pissing on copper metallic painted canvas Turk takes a Gestalt approach to cliché and iconic imagery subverting our sense of what we think we are seeing.

The way the paint was applied to the canvas, or dripped on it, gave his abstract expressionism a level of distinctiveness in the similar way his personal life was different from other artists.

In the «90s, the artist began exploring other orientations, grew more abstract, and ventured into sculpture.

Around the mid-1950s, the artist began to make abstract paintings using his fingers or sticks, combs, leaves and other makeshift utensils to push oil paint around the surfaces of Masonite boards or cardboard taken from packing boxes at the bakery where he worked.

Curator Gary Garrels worked with six abstract painters — Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool — to select one of their own recent paintings as well as works by other artists who have influenced their thinking.

Unlike other artists working at the time whose work shifted gradually away from the representational, Malevich's leap into the abstract was sudden, conceptual and entirely premeditated.

Other artists create abstract landscapes that bring a different and necessary vocabulary in an exhibition that tries to address such a wide and contradictory array of topics and perspectives, from personal desires and dreams to historical processes.

Brilliantly combining world - serious and Miami playful, the Rubell Family Collection offered a mini-retrospective selected from its more than 6,300 works and 800 artists, as well as work commissioned for the exhibition from the likes of Mark Flood, Aaron Curry, Kaari Upson, Will Boone and, from newcomer Lucy Dodd, a room - long abstract painting inspired by Picasso's Guernica (watch her prices jump — the Rubells are opinion - makers, as we've seen with Hernan Bas among others).

An Opening Reception and Gallery Talk with the curator takes place on Sunday, August 7, 2016 from 5 to 7 p.m. «Innovation and Abstraction: Women Artists and Atelier 17» presents abstract graphics and works in other media by eight aArtists and Atelier 17» presents abstract graphics and works in other media by eight artistsartists.

While his imagery has changed several times over the years, the artist characterized himself as being «from the beginning, a minimalist abstract artist, a geometric abstractionist, with no recognizable shapes in my work» — other than circles, which have always captivated his imagination as «the perfect shape.»

In her blog, artist Joanne Mattera reports on her trip to Art Basel Miami Beach, as well as six other satellite fairs (out of twelve), and gives an overview of abstract work of interest.

Other highlights include a London re-staging of Daniel Buren's iconic New York performance piece Seven Ballets in Manhattan (1975)(From Fri 30 Jan, 3 pm and throughout Feb and Mar) and a work by Russian artist Anna Parkina (Sat 12 Mar, 7 pm) merging live music, light and movement in an immersive abstract performance.

Artists such as Phil Dike, Rex Brandt, George Post, Nick Brigante, and others experimented with abstract form, reflecting many of the larger changes taking place at that time in the art world, most notably the rise of Abstract Expressionism.

Armstrong takes the most interesting aspects of what past artists have explored in this realm of abstracted observation — Bonnard, Braque, John Marin, Marsden Hartley, Arthur Dove, Georgia O'Keefe, Lois Dodd among others — and makes it a uniquely personal and inventive manner of responding pictorially to nature.

Many artists now do their best to confuse imagery and other media with abstract painting, and often as not they succeed.

The gallery represents each of these artists, as well as other influential mid-century abstract painters including Roger Kuntz, June Wayne, and James Jarvaise.

A dynamic, geometric clarity was certainly the aesthetic goal of many abstract artists, but there were others who worked under the influence of Surrealism and Expressionism, not to mention the natural landscape that so inspired the first generation of American abstract artists.

Taking the plunge into a fascinating imaginative world, Sigethy will again team up with sculptor Liz Lescault for «Fathom Full Five: Going Deeper,» a sequel to their May 2013 «Fathom» exhibition that featured beguiling forms, abstract but undeniably organic, started by one artist and completed by the other — with the promise, this time, of two large - scale installations.

Some of those prominent «uptown» galleries included: the Charles Egan Gallery, [30] the Sidney Janis Gallery, [31] the Betty Parsons Gallery, [32] the Kootz Gallery, [33] the Tibor de Nagy Gallery, the Stable Gallery, the Leo Castelli Gallery as well as others; and several downtown galleries known at the time as the Tenth Street galleries exhibited many emerging younger artists working in the abstract expressionist vein.

In other works, brushstroke, drip, and gesture recall that abstract expressionism — or, more closely, neo-expressionism — which surrounds us; many artists here also employing a sensitive line and a fluidity not clearly evident in the1937 prints.