For the pilot semester beginning October 3, and its theme of «
New Social Abstractions,» leading artists - theorists Hito Steyerl, Simon Denny, Evan Calder Williams, and writer Ana Teixeira Pinto will lead an exploration into new levels of complexity that organize our modern world and discuss new kinds of artistic production that this development may demand
Not exact matches
The final chapter of this book gives Whitehead's reasons for thinking that
social progress depends on a
new educational system, one that will give equal importance to «appreciation of the concrete» and «facility with
abstractions.
For her P.S. 1 project, Molly Larkey presents The Believers, a
new series of sculptures that combine
abstraction and figuration to comment on political and
social ideologies.
After the western art capitol moved from Paris to
New York because of the wars, critics like Greenberg posed American
abstraction against Socialist Realism, and the standpoint of
Social Realism became confused.
with essays by Johannes Meinhardt and Jeffrey Rian, in German) Art Collected: Private, Corporate and Museum Contexts, University Art Museum, Binghampton, USA (curated by Lynn Gamwell) Hybrid Neutral: Modes of
Abstraction and the
Social, Richard F. Brush Art Gallery, St. Lawrence Museum,
New York, USA (traveling exhibition coordinated by Independant Curators Incorporated, curated by Collins and Milazzo, cat.
Associated with movements as diverse as Abstract Expressionism, Color Field painting, Minimalism, Op art, and Postmodernism, the artists featured in Rothko to Richter were at the forefront of debates about the changing priorities and imperatives of painting after World War II, each seeking to redefine
abstraction for
new social and cultural milieus.
Art at the End of The
Social, Rooseum, Malmo, Sweden (curated by Collins and Milazzo) Anti-Simulation: A Debate on
Abstraction, Bertha and Karl Leubsdorf Art Gallery, Hunter College,
New York, USA (curated by Maurice Berger, cat.)
Associating his influences with
Social Realists «he fell in with» when he arrived in
New York, Sims describes them as «a cohort of individuals who bridged the gap between
abstraction and figuration... the use of energetic color and gesture, and a sensibility that would be described as gritty.»
Louis Ribak was a
Social Realist who became reconciled to the
new abstraction in the years after he left New York in 1944 and moved to Taos, New Mexi
new abstraction in the years after he left
New York in 1944 and moved to Taos, New Mexi
New York in 1944 and moved to Taos,
New Mexi
New Mexico.
Known for his carefully constructed paintings that move effortlessly between
abstraction and figuration, the imagined and the real, this
new body of work sees de Balincourt moving away from direct references to current
social, political or popular culture, and instead depicting a world in which indications of specific place or time are absent.
1988 Cultural Geometry, Deste Foundation for Contemporary Art, Athens (curated by Jeffrey Deitch, catalogue) Collection Sonnabend: 25 Years of Selection and Activity, Museo Nacional Centro de Arte Reina Sofía, Madrid; traveled to CAPC Musée d'art contemporain, Bordeaux, France; Art Cologne, Cologne, Germany; Hamburger Bahnhof Museum für Gegenwart, Berlin; Galleria Nazionale d'Arte Moderna, Rome; Museo d'Arte Moderna e Contemporanea, Trento, Italy; Musée Rath, Geneva; Sezon Museum of Art, Tokyo; Miyagi Museum of Art, Sendai, Japan; Fukuyama Museum of Art, Hiroshima, Japan; National Museum of Art, Kyoto, Japan (catalogue) Galerie Lelong,
New York A Drawing Show, Cable Gallery,
New York Hover Culture, Metro Pictures,
New York Art at the End of the
Social, The Rooseum, Malmö, Sweden (curated by Collins & Milazzo, catalogue) Australian Biennale, Art Gallery of
New South Wales, Sydney, Australia; travelled to National Gallery of Victoria, Melbourne, Australia (catalogue) La Couleur Seule: L'Experience du monochrome, Musée Saint Pierre, Lyon, France (catalogue) Hybrid Neutral, Modes of
Abstraction and the
Social, I.C.I. Exhibition: University Art Gallery, The University of North Texas, Denton, TX; travelled to J.B. Speed Art Museum, Louisville, KY; Alberta College of Art, Alberta, Canada; The Contemporary Arts Center, Cincinnati, OH; Richard F. Brush Art Gallery, Gainesville, FL; Santa Fe Community College Art Gallery, Gainesville, FL (curated by Collins & Milazzo, catalogue) Works Concepts Processes Situations Information, Galerie Hans Mayer, Düsseldorf, Germany (curated by Robert Nickas) American Art of the Late 80s: The Binational, Museum of Fine Arts and Institute of Contemporary Art, Boston, MA; travelled to Städtische Kunsthalle, Düsseldorf, Germany; Kunsthalle, Bremen, Germany; Württembergischer Kunstverein, Stuttgart, Germany (catalogue) Carnegie International, Carnegie Museum of Art, Pittsburgh, PA (catalogue)
New Works, Daniel Weinberg Gallery, Los Angeles A Debate on
Abstraction: Systems and
Abstraction, The Bertha and Karl Leubsdorf Art Gallery, Hunter College,
New York (catalogue) Viewpoints: Postwar Painting and Sculpture from the Guggenheim Museum Collection and Major Loans, Solomon R. Guggenheim Museum,
New York Three Decades: The Oliver Hoffman Collection, The Museum of Contemporary Art, Chicago (catalogue)
2000 Luci in Galleria, da Warhol al 2000, Galleria Gian Enzo Sperone, Turin, Italy Grant Selwyn Fine Art,
New York Peter Halley / Alex Katz / Sherrie Levine, Galerie Wilma Tolksdorf, Frankfurt am Main Glee: Painting Now, Palm Beach Institute of Contemporary Art, Lake Worth, FL; Aldrich Museum of Contemporary Art, Ridgefield, CT (catalogue) Around 1984: A Look at Art in the Eighties, MoMA P.S. 1, Long Island City, NY (catalogue)
New Prints 2000, International Print Center,
New York Flights of the Málaga Collection, Fundacion la Caixa, Málaga, Spain Hard Pressed: 600 Years of Prints and Process, AXA Gallery,
New York (catalogue) Universal
Abstraction 2000, Jan Weiner Gallery, Kansas City, MO Perfidy: Surviving Modernism, Kettle's Yard, Cambridge, UK Wall Works, Edition Schellmann, Munich From Albers to Paik: Works of the DaimlerChrysler Collection, Kunst Zürich, Zurich Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago Collectors: The Collection of Fondation Cartier for Contemporary Art, Palazzo Delle Papesse, Siena, Italy Bit by Bit: Painting & Digital Culture, Numark Gallery, Washington, DC American Art: The Last Decade, Loggetta Lombardesca, Ravenna, Italy (catalogue) Out of Order: Mapping
Social Space, CU Art Galleries, University of Colorado at Boulder, Boulder, CO; travelled to Carleton College Art Gallery, Northfield, MN; Pittsburgh Center for the Arts, PA; Atlanta Contemporary Art Center, GA; Santa Barbara Contemporary Art Forum, CA (catalogue) Inka Essenhigh / Peter Halley, Mary Boone Gallery,
New York Architecture & Memory, Lawrence Rubin, Greenberg Van Doren Fine Art,
New York Sandra Gering Gallery,
New York
On view will be major examples of
abstraction from the
New York based American Abstract Artists Group and the Transcendental Painting Group, centered in the South West,
social realism, Surrealism, and various expressions of modernism.
Despite Lewis» skill and ability to integrate
social issues with
abstraction, he was aware it might take decades after his death before his work would be celebrated, his daughter, Tarin Fuller, told The
New York Times.
These artists were making
new work that proffered critique of both expressionism and non-objective
abstraction, in a context informed by contemporary ideas about
social control, mediation, and simulation.
Morgan Falconer tells the story beginning with Jackson Pollock and the Abstract Expressionists on both sides of the Atlantic, proceeds through postwar
abstraction in France,
social realism in East Germany, the end of geometric
abstraction in Europe, American post-painterly
abstraction, the handmade ready - mades of Rauschenberg and Johns, Pop's rise in Britain and the US, painting's confrontations with photography in the 1960s and beyond, the return of expressionism in the 1980s,
new approaches to Pop in the 1990s and 2000s, and the continued variety of some of the most recent paintings to be made by a younger, «post-medium» generation of artists.
Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as
Abstraction was rising to dominance - including
Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc T
Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric
Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A
new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuym
new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8:
New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuym
New Figures, Pop Romantics Post-cold war, artists use paint to create a
new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuym
new kind of «pop art» - primarily figurative - tackling cultural,
social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc T
social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans
For his first
New York show with Hauser & Wirth, Mark Bradford is presenting a slew of new canvases and video works that reflect his ongoing engagement with what he calls «social abstraction» — abstract art that points towards social and political realities without descending into didactici
New York show with Hauser & Wirth, Mark Bradford is presenting a slew of
new canvases and video works that reflect his ongoing engagement with what he calls «social abstraction» — abstract art that points towards social and political realities without descending into didactici
new canvases and video works that reflect his ongoing engagement with what he calls «
social abstraction» — abstract art that points towards
social and political realities without descending into didacticism.
Current
social abstractions provoke
new ways of understanding and describing our world and our culture.
Whitechapel Gallery, London, 15 January — 6 April 2015 The RA's show of South American abstract art, «Radical Geometry», examined how geometric
abstraction travelled diagonally across the Atlantic from Europe, taking compelling
new forms inspired by local political and
social circumstances.
Mehretu's work offers not only a
new form of visual
abstraction, but also a
new perspective of the
social and geographic networks that underpin the modern world.
• Introduction • Impressionist Movement (fl.1870s - 1880s) • Neo-Impressionism (1880s) • Newlyn School -LRB-(fl.1884 - 1914)-RRB- • Art Nouveau (Jugendstijl)(1890 - 1914) • Symbolist Art (1890s) • Post Impressionist Art (1880s / 90s) • Les Fauves (1905 - 8) • Expressionist Movement (1905 onwards) • The Bridge (Germany 1905 - 13)(Die Brucke) • Blue Rider (Germany 1911 - 14)(Der Blaue Reiter) • Ashcan School (
New York)(1900 - 1915) • Cubist Art (fl.1908 - 1914) • Orphic Cubism (Orphism, Simultanism)(1914 - 15) • Photographic Art • Collage (from 1912) • Futurist Art (1909 - 1914) • Rayonism (c.1912 - 14) • Suprematism (c.1913 - 1918) • Constructivism (1914 - 32) • Vorticism (c.1914 - 15) • Dada (Europe, 1916 - 1924) • De Stijl (1917 - 31) • Neo-Plasticism (fl.1918 - 26) • Bauhaus School (Germany, 1919 - 1933) • Purism (Early, mid-1920s) • Precisionism (Cubist - Realism)(fl. 1920s) • Surrealist Movement (1924 onwards) • Art Deco (c.1925 - 40) • Ecole de Paris (Paris School) •
New Objectivity (Neue Sachlichkeit)(Germany, 1925 - 35) • Magic Realism (1925 - 40) • Socialist Realism (1928 - 80) •
Social Realism (America)(1930 - 45) • Degenerate Art (Entartete Kunst)(1933 - 45) • Neo-Romanticism (1935 - 55) • Art Brut • Organic
Abstraction (fl.1930 - 1950) • St Ives School (1939 - 75) • Existential Art (Late - 1940s, 1950s) • Abstract Expressionist Movement (1947 - 65) • Art Informel (fl. 1950s) • Tachisme (1950s) • Arte Nucleare (c.1951 - 60) • Assemblages (1953 onwards) • Neo-Dada (1953 - 65) • Kitchen Sink Art (c.1954 - 57) • Pop Art (c.1958 - 70) • Op - Art (Optical Art)(fl.1965 - 70) •
New Realism (1960s) • Post-Painterly
Abstraction (Clement Greenberg)(Early, mid-1960s)
The
New York - based group, mainly painters at various stages of their careers, experimented with
abstraction and protest, delving into the responsibility of the artist in unifying their community, particularly during times of
social upheaval and change.
Ms. Laskey's handwoven panels resemble Ellsworth Kelly's work or Sol LeWitt's fragmented
abstractions, and Mr. Faught's virtuosic weavings include funny texts that reference
new technology and
social media — retorts, essentially, to contemporary criticism of fiber art.
MODERN ART Pre-Raphaelites (1848 on) Impressionistm (1870s on) Neo-Impressionism (1870s) Newlyn School (1880s) Art Nouveau (Late 19th C) Symbolism (Late 19th C) Post Impressionism (c. 1880s) Les Fauves (1898 - 1908) Expressionist Art (1900 on) Die Brucke (1905 - 11) Der Blaue Reiter (1911 - 14) Ashcan School (1892 - 1919) Cubism (1908 - 1920) Orphism (1912 - 16) Purism (1920s) Precisionism (1920s on) Collage (1912 on) Futurism (1909 - 1914) Rayonism (1910 - 20) Suprematism (1913 - 1920s) Constructivism (1917 - 21) Vorticism (1913 - 15) Dada Movement (1916 - 1924) De Stijl (1917 - 31) Bauhaus School (1919 - 1933) Neo-Plasticism (1920 - 40) Art Deco (1920s, 30s) Ecole de Paris (1900 on) Neue Sachlichkeit (1920s) Surrealism (1924 on) Magic Realism (1920s) Entartete Kunst (1930s)
Social Realism (1920s, 30s) Socialist Realism (1929 on) St Ives School (1930s on) Neo-Romanticism: from 1930s Organic
Abstraction (1940 - 65) Existential Art (1940s, 50s) Abstract Expressionism (c.1944 - 64) Art Informel (c.1946 - 60) Tachisme (1940s, 50s) Arte Nucleare (1951 - 60) Kitchen Sink Art (mid-1950s) Assemblage (1953 on) Neo-Dada (1950s on) Op - Art (Optical Art)(1960s) Pop Art (1958 - 72)
New Realism (1960s) Post-Painterly
Abstraction (1960s) Feminist Art (1960s on)
The graphic, diagrammatic paintings of
New York — based painter and filmmaker Sarah Morris (born 1967) play with notions of
social space and identity through rigorous
abstraction.
Torkwase Dyson, born in Chicago, is an artist based in
New York whose practice draws on her interest in
abstraction,
social architecture, and environmental justice.
Collins, Tricia and Milazzo, Richard, Hybrid Neutral: Modes of
Abstraction and the
Social, Independent Curators International (ICI),
New York, 1988.
Thematic group exhibitions on Modernism, early American
abstraction, realism, surrealism, abstract expressionism and
social realism have also been consistently presented from
new perspectives.