Sentences with phrase «about abstraction art»

VERNACULAR: A painterly conversation about abstraction Art and Film: Elizabeth Murray and the splendor of the ordinary

Not exact matches

Drawing from the art - historical lineage of cubism, cartoons, figurative painting and gestural abstraction, and appropriating subjects from mythology, advertising, print culture and consumerism, Comic Future is as much about the breakdown of the human condition as it is about the absurdities which define the perils of human evolution.

Jose Angel Vincench «The Weight of Words: Golden Irony» March 9 — April 1, 2017 My abstraction starts with testimony of the violent actions on the dissidents, but more than a political statement I prefer to talk about the silence in the civil society and art.

Think about it for a moment: Abstract Expressionism makes room for Helen Frankenthaler, Joan Mitchell and Lee Krasner; Minimalist abstraction, Agnes Martin; Post-Minimalism, Eva Hesse; video art, Joan Jonas, among many others.

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.

When Lisa Freiman, Senior Curator and Chair of the Department of Contemporary Art at the Indianapolis Museum if Art, completed the jurying of our 2012 Midwest Competition, the results of which will be published in August as Issue # 102, we had a discussion about the overwhelming amount of abstraction in the applicant pool; indeed, the book will strongly reflect this.

Thinking about abstraction's continued relevance may require me to at least mention Zombie Formalism, («Formalism because this art involves a straightforward, reductive, essentialist method of making a painting and Zombie because it brings back to life the discarded aesthetics of Clement Greenberg»), if only to suggest that the term, coined by artist - critic Walter Robinson, quoted in brackets above, seems to refer more to the market than to the art and may appear more pertinent in the USA than in the UK where alternative modernisms have sometimes held more sway than the version associated with Greenberg and Fried.

I was introduced to their work in a Performance Art History course in college and they completely changed the way I thought about abstraction, the body, and space.

I've written before about the suppression of Lyrical Abstraction but even I am appalled by the arrogant disrespect that The Whitney Museum displays towards American artists and to the American art public.

The second nests these ideas about abstraction and the sculptural in an emphatically feminist argument, one that asserts that the production, display, and reception of such art has been shaped by the personhood of the artists who tended to practice it, and by the sexist social and institutional conditions those individuals faced under modernism.

They can eye the state of the art — like galleries last year, many of which tried to explain the vitality of abstraction, or this year, when several asked about Minimalism, trash, and the everyday.

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.

However, beginning with Wassily Kandinsky's pioneering work in pure abstraction and his theorizing about «The Spiritual in Art,» many of the most spiritually ambitious visual artists of the modern age have found that their ambitions are best served by the stripped down, elemental language of abstraction.

2017 Third Space: Shifting Conversations about Contemporary Art, Birmingham Museum of Art, Birmingham, AL We Wanted a Revolution: Black Radical Women, 1965 — 85, Brooklyn Museum, Brooklyn, NY; California African American Museum, Los Angeles, CA; Albright - Knox Art Gallery, Buffalo, NY; Institute of Contemporary Art, Boston, MA Magnetic Fields: Conversations in Abstraction by Black Women Artists 1960 - Present, Kemper Museum of Contemporary Art, Kansas City, MO; National Museum of Women in the Arts, Washington, DC; Museum of Fine Arts, St. Petersburg, St. Petersburg, FL Approaching Abstraction: African American Art from the Permanent Collection, La Salle University Art Museum, Philadelphia, PA 20/20: The Studio Museum in Harlem and Carnegie Museum of Art, Carnegie Museum of Art, Carnegie Institute, Pittsburgh, PA Making Space: Women Artists and Postwar Abstraction, The Museum of Modern Art, New York, NY The Time Is N ♀ w, Michael Rosenfeld Gallery LLC, New York, NY MIDTOWN, Salon 94 at Lever House, New York, NY

Art is no longer exclusively European or American, but there are still those who debate about the supremacy of representation over abstraction and vice-versa.

2010 Art of The Eighties, Nymphius Projekte, Berlin Re-Seeing the Contemporary: Selected from the Collection, Dallas Museum of Art, Dallas Psychedelic: Optical and Visionary Art Since 1960, San Antonio Museum of Art, TX (catalogue); travelled to Memorial Art Gallery, University of Rochester, NY; Telfair Museum of Art, Savannah, GA Inside, Outside, Upstairs, Downstairs: The Addison Anew, Addison Gallery of American Art, Andover, MA Art of the Eighties, Nymphius Projekte, Berlin Color and Form, Los Angeles County Museum of Art, Los Angeles Once Removed, The Apartment, Athens Masters of Impressionism and Modern Art, Heather James Fine Art, Jackson, WY VaXiNation, Xippas Gallery, Athens Global Art Show, The Columns, Seoul Track and Traces, Galleria in Arco, Turin, Italy Abstract Vision 2010, Art + Art Gallery, Moscow The 80s Revisited: The Bischofberger Collection, Kunsthalle Bielefeld, Bielefeld, Germany (catalogue) Painting Panel Exhibition, in conjunction with the College Art Association Annual Conference, Shane Campbell Gallery, Chicago, IL Personal Structures: Time — Space — Existence, Künstlerhaus Palais Thurn and Taxis BV: BKV, Bregenz, Austria Pictures about Pictures: Discursive Painting from Albers to Zobernig, Daimler Art Collection, Museum Moderner Kunst, Vienna España / America: The Redefined Abstraction, Galeria Max Estrella, Madrid (curated by Demetrio Paparoni)

In 1938, several abstract painters living and working in Santa Fe, New Mexico formed a group dedicated to promoting non-objective art in a nation that — even two years after the founding of the AAA — remained skeptical about the merits of abstraction.

Mocking the discussion about representation versus abstraction, Reinhardt focused on the American avant - garde scene that marked the abstract art as degenerate and subversive.

For the Guggenheim, «Abstraction in the 20th Century» may well be what modern art is all about.

The exhibit celebrates the extraordinary life and work of Arshile Gorky (about 1904 — 1948), a seminal figure in the movement toward abstraction that transformed American art.

Drawing from the art - historical lineage of cubism, graffiti, cartoons, figurative painting and gestural abstraction, and appropriating subjects from mythology, advertising, print culture and consumerism, Aaron Curry's eagerly awaited survey exhibition at CAPC musée d'art contemporain de Bordeaux next summer is as much about the breakdown of the human condition as it is the absurdities that define the perils of human evolution.

In the same way, when the museum considers «Black Artists and Abstraction,» it makes remarkably little fuss about rewriting recent art history.

The artists represented in the exhibition come from all over the U.S., with rooms devoted to groups such as AfriCOBRA, based in Chicago in the late 1960s, or East Coast Abstraction, which challenged the idea that art had to directly represent Black communities, prompting debate about Black aesthetics.

Laura Owens's work on display at the Dallas Museum of Art challenges assumptions about figuration and abstraction, as well as the relationships among avant - garde art, craft, pop culture, and technoloArt challenges assumptions about figuration and abstraction, as well as the relationships among avant - garde art, craft, pop culture, and technoloart, craft, pop culture, and technology.

Her work has been reviewed and / or written about in frieze, Artforum, Flash Art, Modern Painters, Hyperallergic and the Los Angeles Times and was included in Painting Abstraction: New Elements in Abstract Painting, by Bob Nickas.

Pairing two seemingly different artistic practices, CROSS / / ROADS aims to create a productive confusion that pushes the viewer towards a nuanced reading of both the art objects on display and the multi-layered set of ideas about abstraction, history, and artistic practice they represent.

If his abstractions are «about» anything, they are about resuscitating a pragmatic concept of holistic experience and modifying that naturalistic idea to meet the needs of a dedicated contemporary art practice in which emotion and contingency interact with larger structures of personality, and philosophical problems interact with real production.

It will be followed by «The Rules of Abstraction», in which Matthew Collings will attempt to answer basic questions about abstract art and visits 92 - year - old Bert Irvin in his Stepney studio.

Bryan Robertson: I've always understood, maybe over-simplistically, that the great abstract art of this century came about by a process of working through reality or some aspect of the physical world — the nude, landscape, the interior or still - life — in stages towards simplification, and then, like a sort of exorcism, a casting away of what Rothko called «crutches», venturing into some form of abstraction without any obvious references to the physical world, but maybe with some distilled, remembered vestiges of its appearance — like Mondrian's sequence of trees.

Recent group exhibitions include «Magic Mountain,» Museum of Contemporary Art Santa Barbara, CA; «Spectra,» San Diego State University Downtown Gallery, San Diego, CA; «Lost line,» Los Angeles County Museum of Art, Los Angeles, CA; «ABCyz,» Launch Exhibition, Silvershed, New York, NY; «The Trans - Aestheticization of Daily Life,» University of California, Riverside Sweeney Gallery, Riverside, CA; «Too much love,» Angles Gallery, Curated by Amy Adler, Los Angeles, CA; «Around About Abstraction,» Weatherspoon Art Museum, Greensboro, NC; «Wall Painting,» University of Texas at San Antonio, San Antonio, TX; «Snap Shot,» UCLA Hammer Museum, Los Angeles, CA (Traveled to Museum of Contemporary Art, North Miami, FL); «Fresh,» Altoids Curiously Strong Collection, New Museum, NY; «KOREAMERICAKOREA,» Sonje Museum of Contemporary Art, Seoul, Korea; «Rundgang,» Kunstakademie Düsseldorf, Düsseldorf, Germany.

«Insight, inspiration and influence from one of modern America's true artistic visionaries... For many, it's almost incomprehensible to imagine art after World War II in a world in which Stella never existed... This book charts his extraordinary career... The detail is fantastic, the insight never seen before, and the presentation is a masterpiece in itself... A great entry point for anyone wanting to learn more about Stella or minimalism and post-painterly abstraction in general... A perfect compilation [and] something that both a hardcore aficionado an a keen modern art student would get a lot out of... This book is big, bold and beautifully laid out.»

Guest, Barbara, «Reviews and Previews», Art News (New York), April, volume 53, no. 2, p. 54 Devree, Howard, «About Art and Artists: Moderate Abstractions Make a Lively Exhibition at the City Center Gallery», New York Times, 8 April, p. 25 Newbill, Al, «Fortnight in Review: A Contrasting Trio», Art Digest (New York), 15 April, volume 28, no. 14, p. 20 «Coast - to - Coast: Guggenheim to Show and Buy «Younger» Painters», Art Digest (New York), 1 October, volume 28, no. 1, p. 14 McBride, Henry, «Americans looking east, looking west», Art News (New York), May, volume 53, no. 3, pp.32 - 33 & pp.54 - 56 Devree, Howard, «About Art and Artists: Display of Work by «Younger Americans» Brought Together by J.J. Sweeney», New York Times, 12 May, p. 36 Hunter, Sam, «Guggenheim Sampler: Abstract painting comes of age in a museum exhibition of fifty - four younger Americans», Art Digest (New York), 15 May, volume 28, no. 16, pp. 9 & 31 Devree, Howard, «Americans Today: Selection of Work From East to West Opens at Guggenheim Museum», New York Times, 16 May, section 2, p. 1 - Fremantle, Christopher E, «New York Commentary», Studio (New York), October, volume 148, no. 739, pp. 124 - 126 Arnason, H.H, Reality and Fantasy: 1900 - 1954, catalogue, Walker Art Center, Minneapolis Sweeney, James Johnson, Younger American Painters: A Selection, catalogue, Solomon R. Guggenheim Museum, New York 61st American Exhibition: Paintings and Sculpture, catalogue, Art Institute of Chicago Goodrich, Lloyd, «Whitney's Battle for U.S. Art», Art News (New York), November, volume 53, no. 7, pp.38 - 40 & 70 - 73

When Resnick returned to New York after his discharge in 1945, he resumed painting and began meeting with de Kooning, Kline, Arshile Gorky, and other artists at the Waldorf Cafeteria for discussions about art and abstraction.

One heard complaints about «zombie abstraction» and calls for «slow art.»

Many of these examples are traditionally representational: interestingly, much of the discussion about Open Casket has hinged on the appropriateness of Schutz's characteristically grotesque painterly style, and on the limitations of abstraction or figuration in political art.

While most recent painting has drifted toward a formalist abstraction that offers almost nothing to talk or write about, that very emptiness has recently become notable, as the new demand for these young, meaningless abstractions continues to redefine huge segments of the contemporary art market.

What about other significant art movements in Italy, like Italian Futurism, Italian Abstraction?

In addition to his work as an artist his published writing embraces ideas about perception, abstraction and relationships between art and science.

The screening is followed by a panel conversation about Herrera's practice and reception, and abstraction in contemporary art practice.

To read more about the Tour, click here: Ille Arts Hosts an Artists Studio Tour Featuring Contemporary Abstraction on Sept. 9, 2017

The exhibition is based on a series of inversions and infiltrations: from transposing how the work of art is viewed in a collector's private home into a public space to physically shifting and personalizing the sometimes passive viewing experience of a museum; from recreating aspects of the domestic interior to choosing artworks that speak about the psychic interior to new works that intentionally blur the relationship between abstraction and décor.

To be standing at this particular intersection of art and technology, science and instant photography, bringing new ideas, new nomenclature, new picture signs to our global photographic culture, it had to be me, through this machine, to talk about abstraction and minimalism, size and scale, color and non-color, form with feelings.

Graham's influence was disseminated further through his seminal text, Systems and Dialectics of Art (1937), which affirmed the American modernist belief about art — that it is a creative process of abstraction, it is a form of communication independent of any imitation, and it reveals the unknoArt (1937), which affirmed the American modernist belief about art — that it is a creative process of abstraction, it is a form of communication independent of any imitation, and it reveals the unknoart — that it is a creative process of abstraction, it is a form of communication independent of any imitation, and it reveals the unknown.

We recently wrote about contemporary abstraction, and the fact that abstract art survived only as part of other movements.

In brief, there was little knowledge about this American movement (interestingly enough, there was more information on Pop Art and Minimalism), and the whole perspective of looking at Abstract Expressionism was in the light of European postwar abstraction — Paris School, Lyrical Abstraction, New Realism, and L'informel — building on the tradition, vocabulary, and ideals of these trends that were naturally more accessible and familiar to manyabstraction — Paris School, Lyrical Abstraction, New Realism, and L'informel — building on the tradition, vocabulary, and ideals of these trends that were naturally more accessible and familiar to manyAbstraction, New Realism, and L'informel — building on the tradition, vocabulary, and ideals of these trends that were naturally more accessible and familiar to many Europeans.

She applied this to the processes of art - making: Frankenthaler defied rules about painting as well as printmaking, most consequentially when she thinned her paint with turpentine and poured it directly onto raw canvas, in a manner that radically redirected so - called Color Field abstraction.

«I'm a full - blown feminist and I'm very conscious about taking up space in the art world,» Cain continued, addressing the warped way abstraction is often gendered as male.

«if I can't dance to it, it's not my revolution,» Cantor Fitzgerald Gallery, Haverford College, Haverford, PA, March 21 — May 2, 2014; catalogue «Stars: Contemporary Prints by Derrière L'Étoile Studio (Part Three),» Zimmerli Art Museum, Rutgers University, New Brunswick, NJ, March 8 - July 31, 2014 «Pretty Vacant: The Graphic Language of Punk,» Galleries at Moore College of Art and Design, Philadelphia, PA, January 25 — March 15, 2014 «Non Sequitur: Formal and Narrative Abstraction in Contemporary Sequential Art,» curated by Tom Hart, Jeff Owens, and Chase Westfall, Gallery Protocol, Gainesville, FL, February 26 — March 26, 2014 «Reliable Tension — Re: JJ or: How to Win a Conversation About Jasper Johns,» curated by John Pilson, 36 Edgewood Gallery, Yale School of Art, New Haven, CT, February 17 — March 28, 2014

«How do you feel about being in the presence of art that hangs with the most rigorously challenging abstraction and yet is as unabashedly sentimental as holding hands on the beach at sunset?

Great art, of course, can grow from contradictory ideas, and my complaints about Marshall's sermonizing on abstraction would be irrelevant if the authority of his ideas weren't magnified by the power of the works he's made.