Sentences with phrase «york painting scene»

About eight years ago Keltie Ferris burst onto the New York painting scene like a bat out of hell, that is, if you define hell as the Yale M.F.A. painting program; back then, her large Day - Glo - colored canvases were perfect crosses between hazy 1970s Color Field painting, pixilated digital space breaking up and reforming in odd - shaped plates, and painterly abstraction at the same time totally avoiding any derivative overlap with artists like Kelly Walker or Gerhard Richter.

Terry Winters has been a respected presence on the New York painting scene for decades now.

Not exact matches

These materials place this epic exhibit in its historical context in five units: Observing the Urban American Scene; The Spirit of Modernism: A New Way of Looking; The Spirit of the Painting: Expressive Use of Color, Line, and Shape; Modernism in New York, 1913; and Armory Art in the Social Studies Classroom.

When she returned from her uptown wilderness to the fashionable Upper West side in the 1960s she was out of step with the contemporary scene, however Neel made a concerted effort to reengage with the New York art world painting numerous portraits of artists, curators and gallery owners, including the poet and MOMA curator Frank O'Hara, and artists Andy Warhol and Robert Smithson.

«Cristina de Miguel may have trained at a classically inclined art academy in Seville, Spain, but you'd be hard pressed to recognize that given the exuberant, large - scale paintings in «Absolutely Yours,» the artist's debut solo show with Freight + Volume in New York... [with] scenes that respond either to moments the artist has witnessed in New York, or to the act of painting itself.»

A central figure on the New York avant - garde scene, Kusama was famous for her delicately patterned abstract canvases, soft furniture with phalluses, and happenings in which she painted naked participants with her now signature polka dots.

In the early 1950s, she participated in the vibrant downtown New York art scene; during this time, she began to paint in a style that became known as Abstract Expressionism.

We get pictures and commentary in slightly hushed voice, with little asides like «there's such and such» when we see someone, and we get information about the New York art scene and some thoughts about the paintings.

Alice and her paintings were fixtures on the New York scene in the halcyon days, even when painting fell out of fashion.

Join New York City based artist Max Greis for brief tour of the exhibition Medieval Monsters: Terrors, Aliens, Wonders then using a combination of paint and collage techniques participants will make their own illuminated manuscript scene featuring a monster of their creation.

Moving on to 1954 and the low - keyed eighth painting in the series (now in the Museum of Modern Art, New York)-- greys, blues, muffled yellows on a surface just over six feet high by three and a half feet wide, a motor metropolis of tightly curving ramps with headlight beams spreading like stains suggest a vision, slightly smudged, as if seen through the thick glass window of a skyscraper; at any rate remote from the scene of automotive nightmare.

Senior curator Jennifer Powell explains the exhibition will include «early sculptures and works on paper from the late 1930s onwards as well as large scale paintings from 1940 - 51, the period in which Pousette - Dart was part of the burgeoning New York art scene and developing Abstract Expressionism.

One of the pioneers of post-war American art, Chamberlain was a key figure in the vibrant New York art scene of the 1950s and «60s; his innovative work in sculpture, painting and film spans six -LSB-...]

It traces the artist's career from his «realist» scenes of 1930s New York through his Surrealist phase and — with a side bar of the «multiform» paintings — culminates in his floating blocks of color.

In the 1930s, she lived in France with the legendary English writer Ford Madox Ford; her brother Jack Tworkov was far better - known as a painter; in New York in the 1940s, she was in the heart of the Abstract Expressionist scene (she's the woman in the white blouse between Bradley Walker Tomlin and Robert Goodnough in a much - reproduced photograph of the «Studio 35 Artists» Session» of 1950), but never gained much recognition for her own paintings.

Whitten moved to New York in 1960 and remained there following graduation from Cooper Union in 1964, studying the collection of African art owned by his first art dealer, Allan Stone, and embedding himself both in the downtown NYC painting scene, and in the uptown circles of Black artists like Romare Bearden.

Poons was included in Emile de Antonio's 1972 documentary Painters Painting: The New York Art Scene 1940 - 1970 and he was the subject of Hollis Frampton's 1966 film, Manual of Arms.

One of the pioneers of post-war American art, Chamberlain was a key figure in the vibrant New York art scene of the 1950s and «60s; his innovative work in sculpture, painting and film spans six decades.

Kenny Scharf gained prominence in New York City's East Village art scene in the 1980s for his ambitious, cartoon - like installations and paintings and his frequent collaborations with his friends, artists Keith Haring and Jean - Michel Basquiat.

In this video, Christopher Wool, Katy Siegel, and David Reed discuss Reed's paintings and memories of the New York arts scene in 1975.

It was also in New York that Thompson quickly arrived at his mature style, taking Dody Müller's advice to heart by reworking the compositions of European Masters such as Piero della Francesca, Nicolas Poussin, and Jacopo Tintoretto into simplified, abstracted forms painted in threatening and seductive tones that were hot and violent or deep and dark — seizing on the dynamism of these classical scenes and often transforming them into contemporary allegorical nightmares.

Bickerton moved to New York in 1982 and after working as a painting assistant to Jack Goldstein, he emerged as a key figure on the newly exploding East Village art scene.

Pendleton's selected Solo Exhibitions include: Adam Pendleton: Selected Works, Shane Campbell Gallery, Chicago and Adam Pendleton, Pace Gallery, New York (2014); Adam Pendleton: I'll Be Your, Pace London, (2012); Adam Pendleton: New Black Dada Paintings, Galeria Pedro Cera, Lisbon, (2012); Adam Pendleton: BAND, The Kitchen, New York; Adam Pendleton: EL T D K Amsterdam, Part I: three scenes, Kunstverein, Amsterdam, (2009); Part III: BAND, de Appel Arts Center, Amsterdam, (2009); Adam Pendleton: EL T D K, Haunch of Venison, Berlin, (2009); Adam Pendleton: Rendered in Black, Indianapolis Museum of Contemporary Art, Indiana, (2008) and Rhona Hoffman Gallery, Chicago, (2007); Adam Pendleton: Deeper Down There, Yvon Lambert, New York, (2005); Adam Pendleton: Being Here, Wallspace Gallery, New York, (2004).

«Role Play: Paintings 1958 - 1973,» provides a glimpse of that heady downtown world of artistic exploration, and helps to reestablish Marcus as a key figure in New York's mid-century avant - garde art scene.

Innerst broke onto the New York art scene in the early 1980s with exquisitely executed small - scale paintings with hand - made frames, and his works were considered part of the Pictures Generation of artists who employed widely varied images as source material culled from the expanding media of the pre-digital age.

Selected Bibliography «No Border: Zheng Xuewu Solo Exhibition,» Time Out Beijing, Beijing, August 2007; Jonathan Goodman, «Zheng Xuewu at Art Projects International,» Art Asia Pacific, reproduction, New York, Fall 2005; Xenia Tetmajer von Prxerwa, Zheng Xuewu's Lone Journey into Abstraction, exhibition catalog, Redgate Gallery, Beijing, 2004; Zheng Zuoliang, My View of Xuewu Print, catalog essay, Beijing, 2003; Xenia Tetmajer von Prxerwa, A Labyrinth of Reality, catalog essay, Beijing, 2003; Judith Farquhar, Introduction to Zheng Xuewu's Work, exhibition catalogue, reproductions, Art Scene China, Shanghai, 2003; Song Xiaoxia, «The Visual World in the Eye of the Urchin,» Chinese Art, 1999; Li Chun, «To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, September 1994.

Often categorized as a New York Pop artist, Thiebaud does not identify himself as such, having begun his paintings of quotidian American scenes in the mid 1950's well before the explosion of Pop art.

A star of New York's art scene in the 1980s, the artist Eric Fischl earned the healthy reputation of being a «bad boy,» both the title of his most famous work — a painting of a young boy openly watching a nude woman picking at her toes while he surreptitiously slides his hand into her Freudian purse — and of his recent tell - all autobiography of the period.

Painters Painting: A Candid History of the New York Art Scene, 1940 — 1970, directed by Emile de Antonio (New York: Turin Film, 1972), DVD, 116 min.

We conducted an interview with Grabner via email about the trajectory of contemporary painting, the redemptive art scene outside of New York, and her feminist, artist - first approach to curating the Biennial.

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.

A protagonist of the dynamic New York art scene of the 1980s, and founder of the seminal Index magazine, he gained recognition as one of the main champions of the neo-geo movement with his geometric paintings rendered in intense fluorescent Day - Glo acrylic paint and Roll - a-Tex texture additive.

Emerging on the art scene with fellow New York artists such as Robert Rauschenberg and Jasper Johns, Twombly kept to a genre all his own, blurring the line between painting and drawing, and incorporating words, scribbles, and a childlike sensibility that revealed mediation and melancholy.

Inspired by the Tonalist and the Hudson Valley painters, Hannock incorporates many of the late 20th Century New York City paint scene techniques into his work.

In the following decades, she significantly influenced the direction of abstract painting in the New York art scene.

A rising star represented by the talent - spotting dealers David Kordansky (in Los Angeles) and Anton Kern (in New York), Jonas Wood creates his visually punchy portraits and still lifes by taking copious photographs of the scene he wants to depict and then cuts and pasts the results together for a Cubistic collage effect — and then he painstakingly transfers these compositions into paintings, drawings, or prints.

Rauschenberg recalled that he «picked arbitrarily» the color red in Emile de Antonio and Mitch Tuchman, Painters Painting: A Candid History of the Modern Art Scene, 1940 — 1970 (New York: Abbeville, 1984), 88.

Known for his candid portraits of his abstract expressionist friends like Willem de Kooning, Mark Rothko, Hans Hofmann, as well as his everyday photographs of memorable New York landmarks and street scenes, Burckhardt's photographs of hand - painted billboards are considered as magnanimous contributions to the New York art scene during the 1940s and 1950s.

Funded in part by grants from the National Endowment for the Arts, the Virginia Commission for the Arts, the County of Augusta, and the City of Waynesboro 1995 Terra Incognita, Treasure Room Gallery, New York, NY 1994 Peripheral Visions, Prezant Gallery, Bronx, New York, NY 1993 Private Viewing curated by Francis de Montebello, Marc De Montebello Fine Art, Inc., New York, NY 1993 Recent Paintings, Jadite Galleries, New York, NY 1992 Recent Paintings, Ward - Lawrence Gallery, New York, NY 1991 Odd and Normal Scenes, Ward - Lawrence Gallery, New York, NY 1990 Two Worlds Away, Lawrence Gallery, New York, NY

Drexler has been an active participant in New York's artistic scene, and her collages and large format paintings — which borrow imagery from movies, advertisements, and newspapers of the 1960s — reverberate with the Pop art of her contemporaries.

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.

The other paintings in the show are scenes that respond either to moments the artist has witnessed in New York, or to the act of painting itself.

A forceful clarity of purpose and vision has characterized his art and his career from the start: he dominated the New York art scene of the late 1950s with his Black Paintings composed of stripes, which famously helped pave the way for Minimalism, and which were exhibited in The Museum of Modern Art, New York's milestone exhibition Sixteen Americans, alongside Johns and Rauschenberg.

With this contradiction in mind, Oko will present Julian Schnabel 1978 - 81, a pointed study of Schnabel's early work via a rotating exhibition of four emblematic paintings made in a period of explosive change for both the artist and the New York City art scene.

1961 New New York Scene, Marlborough Fine Art Ltd., Carnegie International, London, England The Art of Assemblage, Museum of Modern Art, New York, NY Paintings and Sculpture, Cordier and Warren Gallery, New York, NY Contemporary Paintings Selected from 1960 - 61 New York Gallery, Yale University Art Gallery, New Haven, CT

«A longtime fixture in the New York art scene, Susan Weil has always maintained an adventurous attitude toward material and form even as she continued to paint self - assuredly in both abstract and representational modes.»

Chris «Daze» Ellis shares the beginnings of his career in the infamous 1980s New York City scene and his evolution from painting subway cars to exhibiting in galleries in an exclusive artist talk...

A trailblazing figure on New York's underground art scene, she organised political protests, wild outdoor happenings and body - painting «orgies» — a true radical who led the charge for immersive installation work.

In the heyday of New York's male - dominated, mid-century art scene, Dodd was wary of flower painting as a stereotypically feminine practice.

In particular, this applies to the extremely vital art scene, which has strengthened learn influx of the American west coast in recent years.Today, it seems, is the painting in New York as lively as in the times of Abstract Expressionism in the 1950s and Pop Art in the 1960s - except that now a plurality of styles and forms of expression is observed.