Sentences with phrase «pop art moved»

Pop Art moved easily between sex and death, like Wayne Thiebaud between cake and icing, Ed Ruscha between diners and gunpowder, James Rosenquist between lipstick and fighter planes, Andy Warhol between Marilyn and the electric chair, or Roy Lichtenstein between brushstrokes and the bathroom.

Pop Art moves from seizing a moment in mass culture to appropriating mass media, from Warhol's cheerful acceptance to Lawrence's mournful refusal.

Not exact matches

During her most fertile period, while she was living in New York in the sixties, she led the way with astonishing creativity — and in two directions simultaneously — as art moved from the established territory of Abstract Expressionism toward Minimalism and Pop.

Coming right after Pop Art, they moved slowly or even invisibly, as a lesson in attention and patience, much like the deliberate movements of an escaping prisoner of the Nazis in Robert Bresson's A Man Escaped or a Manhattan rush hour for James Nares.

Having moved to New York after receiving a BFA from the Kansas City Art Institute, Christensen found himself in an art scene where minimalism, color field, and Pop art were dominating the conversatioArt Institute, Christensen found himself in an art scene where minimalism, color field, and Pop art were dominating the conversatioart scene where minimalism, color field, and Pop art were dominating the conversatioart were dominating the conversations.

«It's moved toward a much more consolidated equity investment vehicle, it has truly become an international business, it's bringing to the art market an incredible volume of money, and it puts pressure on mom - and - pop operations like ours.»

William T. Wiley is primarily known for mystical watercolors that whimsically move between references to pop culture, literature, and art history, though he has worked in a variety of media, including drawing, painting, sculpture, film, and performance.

2014 dis order — Pattern and Structure in the Collection, Museum Folkwang, Essen, Germany Post Pop: East Meets West, Saatchi Gallery, London Making Links: 25 Years, SCAI The Bathhouse, Tokyo Wall Works II, Hamburger Bahnhof Museum für Gegenwart, Berlin From Rauschenberg to Jeff Koons: The Ileana Sonnabend Collection, Ca'Pesaro International Gallery of Modern Art, Venice Checkmate: Depero / Halley, Galleria In Arco, Turin Urban Theater: New York Art in the 1980's, The Modern Art Museum of Fort Worth, Fort Worth, TX The Mysterious Device was Moving Forward, Longhouse Projects, New York Man in the Mirror, Vanhaerents Art Collection, Brussels 30 Years, Foundation Cartier pour l'art contemporain, Paris (collaboration with Alessandro Mendini) Speaking Through Paint: Hans Hoffmann's Legacy Today, Lori Bookstein Fine Art, New York 93: 20th Anniversary Exhibition, Centro Galego de Arte Contemporánea (CGAC), Santiago de Compostela, Spain

Apple and Hockney traveled together to New York during the Royal College's 1961 summer break, which is when Apple first made contact with Andy Warhol — both later moved to the United States and Apple became involved with the New York pop art scene.

The text moves away from rote historical narratives, instead opting to focus on the role of the photographer in shaping action and emergent discourses, of the influence of Ghana and Cuba on politics and aesthetics, and of the tensions of politics in Pop art.

«Curator and performer Ian M. Colletti, best known for heading the Vaudeville Park space, stages an ambitious daylong fest, featuring art - pop luminaries...» — «Moving Forward» Time Out New York 5/22/2013

He moved to New York in 1978 to attend the School of Visual Arts, where he befriended Keith Haring and Jean - Michel Basquiat, whose art was also shaped by TV imagery, Pop Art and street cultuart was also shaped by TV imagery, Pop Art and street cultuArt and street culture.

While these highly complex and laborious constructions (she often called them «three - dimensional paintings») moved her well beyond the vocabulary of the improvisatory, so - called «action painting» usually associated with American abstract expressionism, they also had virtually nothing to do with the pop art and minimalism which were then the rage of the 1960s New York art scene.

Ceramics and Pop Art sit in these pages alongside magic lanterns, demarcating the early origins of cinema, before moving on to an exploration of new technologies.

After training at Wimbledon School of Art she moved in 1959 to that hub of British Pop, the Royal College of Art, where she met and worked with key figures from the movement.

Moving away from European abstraction and the Viennese art scene, Kiki Kogelnik relocated to America in the 1960s, where she met Roy Lichtenstein, Andy Warhol and Claes Oldenburg and other leading Pop Art figurart scene, Kiki Kogelnik relocated to America in the 1960s, where she met Roy Lichtenstein, Andy Warhol and Claes Oldenburg and other leading Pop Art figurArt figures.

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 TuymPop, 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 TuymPop 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 TuymPop 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 TuymPop 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 Tuympop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

In the early 1980s, Weiwei moved to New York where he got influenced by pop art and started creating conceptual artworks made of altered readymade objects that brought him worldwide exposure.

Working in a remarkable mixture of surrealism, minimalism, pop, and psychedelia, she moves effortlessly between different media, between east and west, between art and popular culture, and between cultural identities.

Utilizing voice modification and color reversal as modes of overt manipulation, Chopped Up Chard and Popped Up Cherries (both 2014) trace the contours of the titular objects, which come to feel more like moving Pop art paintings than organic goods.

The world, however, moved on, and although Denny became a much respected elder statesman for abstraction, and his cool geometric lithographs of the 1970s became popular in corporate offices, the thoughtful abstractionism he represented was swamped by the advent of Pop and conceptual art.

Also in Feburary 2017 issue: — Ed Emberley and the legendary children's book artists career — Scott Albrecht putting the pieces together, coast to coast — Robert Montgomery's street poetry — Talita Hoffman's Sao Paulo vision — Andrew Luck and his new move Eastward — Murals and meals in Sacramento, California's burgeoning art city — French Fred's unique vision of skateboarding — Sneaker Culture comes to the Bay — Pop Art goes to Orange County — Post Street Art exemplifies the moment... — ... and Geronimo Balloons makes us float aart city — French Fred's unique vision of skateboarding — Sneaker Culture comes to the Bay — Pop Art goes to Orange County — Post Street Art exemplifies the moment... — ... and Geronimo Balloons makes us float aArt goes to Orange County — Post Street Art exemplifies the moment... — ... and Geronimo Balloons makes us float aArt exemplifies the moment... — ... and Geronimo Balloons makes us float away

Building his career at the fabled Ferus Gallery on La Cienega Blvd that launched West Coast Pop Art with his enigmatic word paintings before moving on to become one of the world's leading artists renowned for his ultra-flat (long before there was a «Superflat») paintings of gas stations, snow - capped mountains, & soft focus silhouettes.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woArt's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woart history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woArt in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.

This will be the touring pop up and virtual home for Estonian Artists Moving Image that will take place in international cities during major art fairs.

The rise of «Pop» art and a move to Baltimore in 1960 removed Hartigan's once top - flight career from the spotlight, and her reputation has never fully recovered.

Probably Abstract Expressionism gave reason to the birth of Pop Art for its stagnation possibly, and Pop Art maybe began to fizzle in its own direction, which gave forth to God knows what, Minimalism, Conceptualism, and a number of other isms which keep moving.

One of the things we love about Contemporary Art is how quickly we can change gears, moving from Quinn's realism to an astounding new Pop Art acquisition from one of America's living Pop Art legends, Claes Oldenburg.

His voluptuous silk screens and thornily congested combines, bristling with found images and objects of all sorts, helped loosen the stranglehold of Abstract Expressionism and moved American art toward the lively new frontiers of pop art, conceptualism, even an environmental consciousness (his paintings made with live grass, an installation of bubbling mud).

He was moved by the subjective gesture of American Abstract Expressionist painting and the direct resonance of Pop Art.

Five of the six artists competing for the 2016 Jarman award for moving image art are women, exploring subjects as diverse as Alzheimer's disease and Arab pop culture.

The first two artists he signed up were Jasper Johns and Robert Rauschenberg, both transitional figures in the move from Abstract Expressionism to Pop Art.

Of this image from «The Democratic Forest» series, Lulay explains «the images are rich on a visual and narrative level — here you have a view of America, Pop Art references in the signs, and the color blocking which moves to abstraction.»

Tallinn Music Week, the most curious city festival moves outdoors to greet the arrival of spring with street art, secret gigs, pop - up food and transformative actions.

She moved to New York City in 1958 and was a part of the New York avant - garde scene throughout the 1960s, especially in the pop - art movement.

He moved to New York City in 1954 and joined the pop art movement, using distinctive imagery drawing on commercial art approaches blended with existentialism, that gradually moved toward what Indiana calls «sculptural poems».

He further complicates things because he painted for only about a decade — 1950 to ’60 — before moving on to making unclassifiable, jam - packed assemblages during the rise of Minimalism, Pop Art and Color Field painting.

There isn't adequate space in this short piece to cover the breadth of an extraordinary practice, ranging across drawings, collages, paintings and assemblages, as well as uniquely imaginative moving images works, which have outlived the various scenes in which they thrived, from Pop Art,»60s counter-culture and punk.

While you move freely through different periods of art history or take refuge in the work you admire, her exploration of cultural identity seems to be inseparable from her own investment in and love for pop culture, especially Pop Aart history or take refuge in the work you admire, her exploration of cultural identity seems to be inseparable from her own investment in and love for pop culture, especially Pop Apop culture, especially Pop APop ArtArt.

1996 New Paintings, Seomi Gallery, Seoul, South Korea The Mediated Object: Selections from the Eli Broad Collections Harvard University, Fogg Art Museum, Cambridge, USA From Bauhaus to Pop: Masterworks Given by Philip Johnson, Museum of Modern Art, New York, USA Moving Structures, Lehmann Maupin Gallery, New York, USA Views from Abroad: European Perspectives on American Art II, Witney Museum of American Art, New York, USA

In 1955, he moved to New York City where he studied at The Art Students League for one year and met artists from the generation that preceded Pop art (the Abstract ExpressionistArt Students League for one year and met artists from the generation that preceded Pop art (the Abstract Expressionistart (the Abstract Expressionists).

He came to prominence alongside emerging Pop artists in Los Angeles, where he moved in 1956 to study at the Chouinard Art Institute.

The first - floor galleries are arranged chronologically, beginning with Abstract Expressionism, moving through Field Painting, Pop art, and Minimalism.

In his in his collaborations with Merce Cunningham and John Cage, and as a pivotal figure linking abstract expressionism and pop art, Rauschenberg was part of a revolution during which artists moved art off the walls of museums and galleries and into the center of the social scene.

During a six - year period they created works together that saw them lead the move away from Abstract Expressionism to Pop Art.

After graduation, he moved to New York City and became involved with Robert Rauschenberg, Claes Oldenburg, and Roy Lichtenstein whose work moved away from abstract expressionism toward pop art.

K.O. - A number of critics are addressing the culture of cuteness that is so pervasive in the art world right now.2 Your work moves from the advanced psychological and philosophical material with which you are engaged (like the title of your recent exhibit at West Virginia University, «Ever - Pre-Given,» taken from a 1971 essay by Louis Althusser and Étienne Balibar) to these cute, banal pop motifs, such as the repeated smiley faces in Summer of Hate, 2015.

West began making drawings around 1970 before moving on to painted collages incorporating magazine images that showed the influence of Pop Art.

One of the most prominent female gallerists when men ruled the art world, Leavin at first focused on pop and minimalism before moving on to conceptualism — the category with which the gallery is most closely associated.