Sentences with phrase «about abstract painting by»

Not exact matches

It is a dance of African American origin characterized by a This is typical of about 250 abstract paintings dating from 1917 to 1944.

The essay «Painting and Countenance» is, as is much of my writing on painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this Painting and Countenance» is, as is much of my writing on painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting, especially abstract painting in this painting in this country.

And as early as 1943 the principal tenet that was to distinguish the new abstraction from earlier, pre-war abstract art was clearly formed, as evidenced in a brief «manifesto» of the rising movement crafted by Mark Rothko, Adolph Gottlieb, and Barnett Newman for The New York Times in response to a negative review of the new style: «There is no such thing as good painting about nothing.

The first solo show in an Italian museum of Chinese artist Ding Yi will propose a journey of about forty paintings and drawings, a sculpture and an installation that requires the interaction of visitors, which aims to bring the public closer to the man considered to be the most important abstract painter in contemporary China, by presenting his complex artistic practice and evolution from the nineties to the present day to the public.

Ryman was intrigued by the abstract expressionist works of Rothko, de Kooning, Still and Pollock and became curious about the act of painting and began experimenting in 1955.

He wants to subvert the standards of judgment integral to our understanding of abstract painting, while being committed to the act of making... He is interested in — to use his own words — perversely cultivating the tenuous relationship between «creative seeing» and the randomness of nature without becoming explicit... By finding ways to foreground his conflicts about painting, while also expanding its definition, Burckhardt has become one of the most interesting artists of his generation.»

Based on the thoroughness of these class notes, and also on the syllabuses for the Asian art courses that Reinhardt took from Alfred Salmony at the IFA in the late 1940s, the essentializing of Reinhardt's published essays was intentional, part of a larger strategy to promote his own ideas about contemporary abstract painting by means of paintings from a foreign past.

In Forms 1, irregular, roughly geometric forms in four loose columns situate themselves on a grey ground, which looks as though it may be comprised of many layers of other colours in order to arrive at the richness of the final colour... Here, Parsons does not take some real world starting point and abstract from it in the process of representation, rather she invents by pushing the paint about on the canvas until forms suggest themselves.

Ann Knickerbocker blogs about abstract paintings seen recently in San Francisco including works by Indira Martina Morre, Teo Gonzalez, Judith Foosaner, Patrick Wilson, Marilyn Levin, Lora Fosberg, and Reed Anderson.

It was also the exhibition that confirmed Richter's status as one of the leading artists in the world, and was described by Storr in his introduction as «long overdue» in the United States.2 In 2003 Richter embarked on a small but substantially sized series of paintings entitled Silicate [CR: 885/1 -4] inspired by an article in the Frankfurter Allgemeine Zeitung from 12 March 2003 about the shimmering qualities of certain insects» bodies.3 The resulting four large paintings are perhaps the most overtly biological of the abstract works in Richter's oeuvre, suggestive of cell formations and genetic sequences seen under the microscope.

Mr. Bradford selects some 20 paintings by Still (1904 - 80) and, in adjacent galleries, presents new abstract works he made in response to them, in that way starting a dialogue about Abstract Expressionism.

The exhibit, which will run through Jan. 3 and was co-curated by grad student Sequoia Miller, is all about artists» relationships, experimentation and juxtaposition — shapely ceramic art pieces backed by modern art's paintings, drawings and even welded - steel sculptures of abstract expressionism.

Here, Parsons does not take some real world starting point and abstract from it in the process of representation, rather she invents by pushing the paint about on the canvas until forms suggest themselves.

In a 2010 publication about the painting written by Robert Storr, the author asks: «what is the meaning of a single, small, almost abstract depiction of one of the most consequential occurrences in recent world history?

Some of the most high profile sales include two abstract paintings by Atsuko Tanaka sold by Hauser & Wirth for prices between USD400, 000 and USD600, 000, a vintage Sean Scully sold by ShanghART for USD850, 000 and a pair of large Neo Rauch paintings, each for about USD1 million, sold by David Zwirner to Chinese clients.

But whilst I agree with that ambition of «more abstract», I am much more ambivalent about the idea that certain things that could be done in figurative painting can not now be done in abstract painting, and that by so restricting the scope of abstract painting it will inevitably come to fulfil that ambition of «more abstract».

Golden Age features critical texts on abstract painting by Lane Relyea, David Geers, and Gregory Sholette in an attempt to summarize existing conversations about the eternal returns of abstract painting and how to further the impact, agency and relevance of contemporary art practices.

The first is gestural abstract painting by women, where I was thinking about power and relationships to power.

Memories are fresh about the craze from 2013 to 2015 for process - based abstract paintings made mostly by young, male artists whose prices reached hundreds of thousands of dollars as investors flipped the works repeatedly — until the bubble burst last year.

Certain critics (and curators and collectors too) in the»80s thought that painting could be saved by forgetting about boring old abstract art.

The work proceeds from a cartoon Graham found in a 1950s men's pulp magazine, where two persons are standing in front of almost identical caricatured representation of two abstract paintings by the artist «Picado» made about 40 years apart.

With about 30,000 square feet, it will house more than 2,500 paintings and drawings by Still, a key yet underappreciated abstract expressionist.

Being inspired by Art Brut and Folk Art I decided to paint what are rather abstract forms in a naïve way, using about 24 colours and a uniform brush size.»

Toby Kamps, Director and Chief Curator of the Blaffer Art Museum, Houston and curator for the section Spotlight talks about its incarnation at Frieze New York 2018, with themes and through - lines including abstract painting, Conceptualism, African diaspora traditions, and West Coast artists; Kamps alights on two fascinating artists whose careers are brought to light this year in the section: Cameron (1922 - 1995), presented jointly by Marc Selwyn Fine Art and Nicole Klagsbrun and Mestre Didi (1917 - 2013), presented by Galeria Marilia Razuk.

I am writing this statement not quite knowing what the immediate outcome will be, but am aware of the potential collective impact that this distinctive community of creators will have with Brian Belott's innovations in collage, Ákos Birkás's philosophy about painting a certain situation, Regina Bogat's devotion to art making with clever variations on certain abstract themes, Matt Bollinger's extra-large and bracing graphite drawings, Paul DeMuro's painterly electricity, Marc Desgrandchamp's time - fragmented paintings, Michael Dotson's paintings of the «Disney - esque,» Michel Huelin's relationship with nature and software, Irena Jurek's very meaningful cat character, Alix Le Méléder's proposals of four colors determined by the passage of the brush, David Lefebvre's painted images cut out of magazines or downloaded from a mobile phone, Pushpamala N.'s ethnographic documentations which have been compared to Cindy Sherman, Wang Keping's unique wooden sculptures that juxtapose vivid emotion with a marked sense of introversion, Katharina Ziemke's pictorial treatment of current events, and me, the co-host with a small drawing.

My favourite works are all by female artists, who are so often absent from Italian art history: Carla Accardi's fluorescent and candy - coloured Rotolo Arancio and Rotolo Verde (Orange Roll and Green Roll, both 1967), painted on sheets of rolled - up transparent plastic sheeting; Irma Blank's Twelve Chapters (1977), 12 laboriously hand - written books filled with the artist's elegant abstract signs, and Lisetta Carmi's I Travestiti (Transvestites, 1965 — 71), a pioneering and much censored photographic project about the trans community in Genoa.

One reason for our consideration is that, by some standard, she did everything wrong: she made easel pictures on prefabricated canvas board; she made impure abstract paintings; she seems not to have given a fig about what the Abstract Expressionists were up to.

The question would then be: is this spatial ambiguity a positive (maybe even distinguishing) property of abstract painting — maybe reflecting something deeply human about (for example) the» space» occupied by conciousness?

Abstract art emerged about one hundred years ago, specifically in painting, and through a shift away from representation.1 Yet what is encompassed by the term abstract has long been questioned and never tightly defined.

Six contemporary abstract painters — Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool — select one of their own recent paintings as well as works by other artists who have been significant in their thinking about their work.

About Blog On March 31st 2005, Peter Jacobs created a 9 by 12 inch collage using that day's local newspaper, and have continued that process without interruption every day since.They are paintings with paper, theatrical stages of abstracted color and rhythms, layers that imbue surreal narratives, symbolism hidden in humor, the irony of culture, and pure visual perception.