Sentences with phrase «abstract painting issues»

LG: Like most great still life paintings, your work seems more engaged with formal abstract painting issues, and less about metaphor, nostalgia or the sentimental.

Not exact matches

BB: I consider myself at the moment an abstract painter enthralled with observational painting, but one issue I have with post-war and contemporary figurative painting is how overbearing the «abstraction» can be sometimes.

But in her work, and that of other abstract painters I've mentioned, the issue of whether there is anything already in such paintings, as opposed to what we might «read» into them, is often raised.

As so regularly in Rauschenberg's best work, a painting such as Charlene (1954), with its exuberant central panel of abstract marks and its competing compartments made of so much stuff, completes a tendency in his work, killing it off with a flourish and issuing a reckless demand for more — more and different.

Mary Lou Siefker will exhibit her new Celebration series of abstract acrylic paintings and Wilma Bulkin Siegel will display recent portraiture in the watercolor medium addressing social issues.

But the family is hugely important in giving me a foundation on which I can start to think through what abstraction has been in relation to its history — a complicated issue — and what abstract painting can be in a contemporary context.

Thinking about issues of global awareness, Kunik's first body of abstract paintings dealt with the environment; more specifically rain forest deforestation.

Over the decades, Whitten has leveraged abstract painting's ability to address political issues.

Esopus 23 presents specially - commissioned projects exclusive to this issue including a series of images printed on translucent and metallic stocks by Marilyn Minter, a portfolio of die - cut works by Mickalene Thomas, a collection of images and documentation by Jody Wood relating to her ongoing «Beauty in Transition» series, a new series of paintings by Stefan Kürten; drawings by Karo Akpokiere dealing with the challenges of living and working between Berlin and Lagos, and a series of abstract photographic «landscapes» created in the darkroom by master black - and - white printer Chuck Kelton.

MARK BRADFORD Los Angeles - based artist Mark Bradford paints beautiful, layered abstract canvases that explore poignant social issues.

What was it that launched our own painting out of the issues of abstract expressionism?

We will explore the issues central to abstract painting, such as nature, structure, geometry, the human form and master paintings as potential sources of investigation and inspiration.

Gualdoni's fluid, abstract paintings reference the still life in domestic space but are conceptually grounded in issues of labor and feminism.

Peter Schjeldahl writes in the October 9th, 2017 issue of The New Yorker, «The happiest surprise in Trigger is a trend in painting that takes inspiration from ideas of indeterminate sexuality for revived formal invention... Christina Quarles... rhymes ambiguous imagery of gyrating bodies with dynamics of disparate pictorial techniques... The wholes and parts of bodies in Quarles's cheerfully orgiastic pictures entangle in alternating styles of line, stroke, stain, and smear... called to mind early nineteen - forties Arshile Gorky and Willem de Kooning, who fractured Picassoesque figuration on the way to physically engaging abstraction... Quarles playing that process in reverse, adapting abstract aesthetics to carnal representation.

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, Lucpainting 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, Lucpainting (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, LucPainting: 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, LucPainting 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, LucPainting 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, Lucpainting 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, Lucpainting 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, LucPainting 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, Lucpainting 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 Tuymans

He believed that the main issue of painting was the subject matter that in the case of abstract art, deprived of any classical standards for making art, touching the most basic human emotions.

He was diagnosed with AIDS in 1991, and his work shifted from more formal and abstract paintings to issues of mortality and anonymous portraits, while still engaged in color and light.

Implicitly, though, the ordinary disaster at issue is painting, the kind that Mary Heilmann takes to the surf or that Jacob Kassay and other young abstract artists subject to a slow burn.

Michael Kessler «s large, abstract paintings are the perfect complement to any room, and one of his works was featured in the September issue of Interior Design magazine.

They were so fresh and inventive, yet from their complexity and the assurance of the vocabulary — loose geometry, gridlike formations, unnamable shapes, and squiggly lines — I knew at once that this was the work of a confident and mature artist, even though it fit into the context of what many younger painters were engaged in at the time, when abstract painting had returned to issues of eccentric composition and irregular forms realized through diverse approaches of painting styles.

In their work we see a sustained interest in the advancement of abstract painting, responses to the landscape connected to environmental issues, a continued engagement with surrealism and the development of a new kind of non-specific representational narrative painting.

Sarah Schacht looks at how Luis Cruz Azaceta addresses sociopolitical issues through his abstract paintings.

But, and this is a big «but», I was thrown off sympathising thus by two things: firstly, that Diebenkorn changed tack just when things were getting interesting / challenging in terms of how three - dimensional space in his abstract painting might be tackled anew; and secondly, that the figurative paintings on show here seem to offer no furtherance to, or deliverance from, those issues.»

Kim's work explores the history of abstract painting, the problems of color and vision, and issues of human identity and existence.

The 40 paintings and drawings explore the cerebral spaces of information technology and issues of cognition and narration as they relate to abstract painting.

His layered, mixed - media abstract paintings explore social justice issues and bring to light overlooked cultural concerns.

Julie Mehretu, born in Ethiopia and raised and educated in Michigan and Rhode Island, explores the unwieldy issues of mobility, social organization, political entanglement, and global competition in her large abstract paintings.

These abstract paintings examine issues of race, sexuality, and identity, responding to events like the riots in LA in 1992 and Hurricane Katrina in 2005.

A significant figure in the discourse around abstract painting, conceptual art, and identity politics, Howardena Pindell has explored the potential for abstract painting and process - based practices to address social issues throughout her career.

Chris Johanson's vivid, abstract paintings on scavenged wood hint at the artist's deep engagement with issues of environmentalism, pacifism, and anti-materialism.

This essay, which builds upon an essay about contemporary abstract painting that I wrote for The Brooklyn Rail in 2011, was just published in the January / February 2014 issue of Christie's Magazine.

LOS ANGELES - BASED BRADFORD builds up meaning in his abstract collage paintings using discarded flyers and merchant posters found near his Liemert Park studio that speak to social justice and cultural issues.

Within the rigorous system of his chosen strategy, he's developed methods to engage with the primary issues of abstract painting, focusing on gesture, light, gravity, and color.

These issues, however, had been redefined by a younger generation of abstract artists and theorists, the Minimalists and Color Field painters, into a question of painting's essential identity: was it a thing or a surface or both?

«Shinique's addressing issues of abstract painting and dealing with this idea of how fabric and castoff clothing has meaning to her personally, as well as social and cultural significance.»

Artworks range from installations to performances, paintings to large scale photographs, which address a broad range of issues such as subcultures, architecture, abstract spaces, identity, and isolation.

An abstract expressionist painter in a grand scale, his work is part of the discourse of styles, issues, and developments in American painting.

Many abstract expressionists are said to create paintings about human tragedy, doom and issues within the world, though their works are devoid of figure or subject matter.

A modern alternative to the tired academic formula of history painting was to turn to a more abstract form of art when depicting monumental or grave issues.

Known for confronting history and addressing political and social issues in his abstract collage paintings, Bradford plans to incorporate figuration in his work for the first time and is «taking as a point of departure» a major Civil War painting.

Strongly influenced by pop art, graffiti, and the calligraphic art, Fridriks» hyperkinetic abstract paintings are filled with swirls of vibrant color, address serious and rather worrying environmental and political issues such as genetic research, cloning, overconsumption and exhaustion of natural resources.

Recognized for his sweeping abstract canvases, his layered mix - media paintings raise and explore important social justice issues.

Neely's abstract paintings reference nature and water conservation issues.

This issue is dedicated to the passing of our three friends, Robert T. Buck Jr. (1939 - 2018) for his great contributions to the Brooklyn Museum as a former director and Anthology Film Archives as a trustee; Marcia Hafif (1929 - 2018) whose ascetic monochrome abstract paintings have long been esteemed by her peers and continue to be consequential and inspiring; Dorothy Cantor Pearlstein (1928 - 2018), who came from Pittsburgh to New York City to be a painter along with her husband Philip Pearlstein and classmate Andy Warhol (Andrew Warhola)-- her inquisitive mind and generous spirit won her love and admiration from her community of friends.

Described by the gallery as a «significant figure in the discourse around abstract painting, conceptual art, and identity politics, Pindell has explored the potential for abstract painting and process - based practices to address social issues throughout her career.»

Fans of abstract expressionist art, like many of the paintings shown in this issue, can find lots to relate to in fashion, what with all the layering, color combinations and mixing and matching going on.

Purely abstract painting is impossible now, Oropallo seems to argue, because we see the world — art included — through a screen of social issues, whether we like it or not.

Like Mark Rothko (1903 - 1970), Robert Motherwell (1915 - 1991), Clyfford Still (1904 - 1980) and Pollock, Newman saw abstract painting as the vehicle of profound human issues that a society focused on greed, status and entertainment ignored at its peril.

Pollock painted nothing in 1956, and thus failed to resolve the issue of primacy between the figurative and abstract aspects of his style.

Continuing in a largely abstract style, in the 1960s Lewis painted a number of works dealing explicitly with issues of race and civil rights.