Sentences with phrase «abstract painting marked»

These mini-movements included: (1) Tachisme, a style of abstract painting marked by splotches and dabs of colour, was promoted as the French answer to American Abstract Expressionism.

In his iconic Combines — hybrids between painting and sculpture — he scoured the neighbourhood for discarded materials which he applied to the canvas and covered with abstract paint marks.

From far away many of these paintings appear to be large - scale gestural abstractions, but on closer inspection the viewer detects total flatness — the abstract paint marks were actually photographed and silkscreened on top of images of personal spaces, creating an image of abstraction rather than the abstraction itself.

Not exact matches

By pairing the first - an abstract painting whose flat forms are schematic and derived from markings observed on a soccer field with the second - a silkscreened canvas depicting a nearly identical painting photographed at an angle, Uglow creates a visual experience charged with the potential of both abstraction and representation.

Tamar Zinn finds comfort from current events in three abstract painting exhibitions: Mark Rothko: Dark Palette at Pace Gallery, New York (through January 7), Carmen Herrera: Lines of Sight at the Whitney Museum (through January 9), and Agnes Martin at the Guggenheim Museum (through January 11).

Helicopter (1985), a title ascribed after the painting was finished, offers a contemporary urban metaphor for the abstract affect created by Manister's rhythmic mark combined with flashes of vivid color.

To recap: Marguerite Hoffman sued David Martinez in 2010 after a big red painting by the abstract expressionist artist Mark Rothko turned up on an auction block not long after she sold the piece to Martinez at a discount of $ 17.6 million (he eventually got $ 31.4 million for it at auction).

NEWS Los Angeles - based Mark Bradford, (at right) who is known for his layered, mixed - media abstract paintings, is chosen to represent the United States at the 2017 Venice Biennale.

Mark Dagley is equally renowned for being a publisher and for playing guitar in the seminal punk bands the Girls and Hi Sheriffs of Blue during the 1970s and»80s, but given the strength of his current exhibition, he should be best known for being a reductive abstractionist — that is, an abstract artist who approaches painting through its most basic means and language.

Rothko to Richter explores how changes in process and technique, specifically in mark - making, signal broader changes to abstract painting.

Curator Mark Ormond has organized «Summer Abstractions» gathering paintings, prints and sculpture by abstract artists at Allyn Gallup Contemporary Art Gallery, 1288 N Palm Ave., Sarasota.

Additionally, Tyler's paintings are reminiscent of the work from past artists such as the simplified geometric grids of Piet Mondrian's later work, color field paintings of Mark Rothko and the early abstract expressionistic work by Philip Guston.

In 2013 NYTimes review, Holland Cotter praised Whitten for his restless energy: With a career grazing the 50 - year mark, Jack Whitten is still making work that looks like no one else's, which is saying something, given the flood of abstract painting in New York... read more... «Quick study»

A painting I have never been able to see or find an image of since remains in my memory: a large work though made of relatively small shaped fragmented parts arranged in the shape like a giant abstracted question mark.

Through Aug. 16, 2014 Mark Bradford at White Cube Hong Kong Known for his abstract, layered collage paintings, Los Angeles - based Mark Bradford is presenting «a series of new works about Hong Kong that explore structures of power and politics through the lens of urban planning, in the world's most densely populated city.»

Avery's daring color juxtapositions and abstracted depictions of classic subject matter exerted a highly important influence on Post-War American painting and anticipated the works of Mark Rothko and Adolph Gottleib, among others.

The close valued color shifts, luminosity, paint quality, brushwork, texture, and alloverness of drawing anticipate Jackson Pollock, Mark Rothko, Willem de Kooning, Barnett Newman, the arrival of Morris Louis, Larry Poons and much of what was to come in the best abstract painting from the 1940's to the present day.

It was a terrain where snippets of faces or figures taken from an ad, a cartoon, or a news photo, or that might be recognizable on their own — Alice, say, from Alice in Wonderland, or a figure from Goya, or Hopalong Cassidy — were magically interwoven with, or painted over, patches of fabric or abstract markings.

It initially referred to a particular type of abstract expressionism, especially the work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell, Adolph Gottlieb and several series of paintings by Joan Miró.

The Rothko Chapel is an interfaith sanctuary, a center for human rights — and a one - man art museum devoted to 14 monumental paintings by abstract expressionist Mark Rothko.

Paintings by postwar abstract artist Mark Rothko are highly coveted — in May one of his works sold at auction in London for $ 50 million.

As well as the generally accepted international stars, there are some less familiar artists here too, from Lee Krasner, Pollock's wife, with a huge swirling abstract, to the exquisite, minutely rendered, tangled, painted embroideries of Mark Tobey.

Unlike his contemporaries, such as Mark Rothko and Barnett Newman whose art expressed an urge to transcendence, Kline was focused on pure abstract forms and gesture itself, deprived of any symbolic character or «painting experience».

Layers of abstract marks bear the traces of their making as paint is directly applied from the tube, weaving together to create dense, intricate topographies.

Flecked with incidental marks and shimmering color gradations that shift between emerald green, deep purple and inky blue, Krone's paintings seem to register the residue of ambiguous deposits, offering subtle and sometimes quirky surprises that waver on the threshold between nothing and excess, the abstract and the concrete.

The survey spans a 40 - year career marked by notable inventiveness, determination and verve, from the artist's first abstract painted - wood sculptures to her most recent pop assemblages.

Jackson Pollock, Adolph Gottlieb, Hans Hofmann, Barnett Newman, Clyfford Still, Mark Rothko, Robert Motherwell, Ad Reinhardt and Arshile Gorky (in his last works) were among the prominent abstract expressionist painters that Greenberg identified as being connected to Color Field painting in the 1950s and 1960s.

No doubt my companion appreciated the devotion to art, including two paintings by Lee Krasner alone and early work by Eva Hesse, Mark Rothko, and Louise Nevelson — not yet abstract but already matters of life and death.

This fall, we were honoured to publish a beautiful monograph of Clare Rojas» abstract paintings, which marks the first time they have appeared in print.

For them, the debate around abstract painting largely concerned process and technique, specifically the artistic gesture and mark - making.

These included: Mark Rothko, Philip Guston («Philip would say again and again — as if he had never said it before — that everything in a work of his had to be «felt»»), Franz Kline (he «held court at the Cedar Street Tavern almost every night after ten»), David Smith, Tony Smith, Robert Motherwell, Ad Reinhardt, Jackson Pollock, Barnett Newman, Hans Hofman («I always admired Hans» painting and believe that certain of his pictures — Lava and Agrigento come to mind — must be numbered among the greatest abstract expressionist canvases»), Willem de Kooning, and Clyfford Still («as a de Kooning man, it took me time to appreciate Still's innovation»).

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.

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 abstract photo realism of this painting does not point to the «clarity» of the image, to its homogeneity, but to a diffracted image, marking...

These successes launched Hoptman back to MoMA in 2010 as curator of contemporary art in its painting and sculpture department, and since then her landmark show has been «The Forever Now: Contemporary Painting in an Atemporal World,» the 2014 conversation - starter billed as the first contemporary painting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previopainting and sculpture department, and since then her landmark show has been «The Forever Now: Contemporary Painting in an Atemporal World,» the 2014 conversation - starter billed as the first contemporary painting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previoPainting in an Atemporal World,» the 2014 conversation - starter billed as the first contemporary painting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previopainting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previous eras.

While his work bears similarities to that of American abstract expressionist painters such as Mark Rothko, Jules Olitski and Barnett Newman, Hoyland was keen to avoid what he called the «cul - de-sac» of Rothko's formalism and the erasure of all self and subject matter in painting as championed by the American critic Clement Greenberg.1 The paintings on show here exhibit Hoyland's equal emphasis on emotion, human scale, the visibility of the art - making process and the conception of a painting as the product of an individual and a time.

• Tony Smith (1912 — 1980), sculptor who bridged AbEx and minimalism (dad of Kiki) Mel Kendrick (b. 1949), formalist process - based sculptor Chris Wilmarth (1943 — 1987), sculptor of steel, bronze, and etched glass Joel Shapiro (b. 1941), minimalist sculptor who flirts with figuration Christopher Wool (b. 1955), Neo-AbExer with a taste for graffiti and repetition Alex Hubbard (b. 1975), rising master of painterly materials and abstract coloration Josh Smith (b. 1976), Factory - like painter of great expressive volume Jacob Kassay (b. 1984), mirrored - painting - wunderkind - turned - sackcloth artist • Andy Warhol (1928 — 1987), Pop maestro and appropriationist world - changer David Robbins (b. 1957), artist and «Concrete Comedy» theorist David LaChapelle (b. 1963), lush photographer of celebrity decadence Ronnie Cutrone (1948 — 2013), Factory personality and East Village cult figure George Condo (b. 1957), Neo-Picassian painter of the grotesque Mark Dagley (b. 1957), Op abstractionist • Richard Serra (b. 1939), grand master of process art and the post-industrial sublime Grégoire Müller (b. 1947), painter of current - event appropriations Philip Glass (b. 1937), «Einstein on the Beach» composer Lawrence Chandler (b. 1951), composer, musician, and sound artist • Sol LeWitt (1928 — 2007), father of conceptual art, multitasking artistic outsourcer Adrian Piper (b. 1948), performance art innovator Mark Williams (b. 1950), monochromatic minimalist painter

Curator Gary Garrels worked with six abstract painters — Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool — to select one of their own recent paintings as well as works by other artists who have influenced their thinking.

One of the standard - bearers of the polarizing, hard - to - categorize group of contemporary painters that includes such artists as Mark Grotjahn, Nicole Eisenmann, Richard Aldrich, Josh Smith and Michael Williams, Joe Bradley (born 1975) is widely known for his bright abstract paintings and glyph - like drawings.

Brilliantly combining world - serious and Miami playful, the Rubell Family Collection offered a mini-retrospective selected from its more than 6,300 works and 800 artists, as well as work commissioned for the exhibition from the likes of Mark Flood, Aaron Curry, Kaari Upson, Will Boone and, from newcomer Lucy Dodd, a room - long abstract painting inspired by Picasso's Guernica (watch her prices jump — the Rubells are opinion - makers, as we've seen with Hernan Bas among others).

Within the paintings simple abstract structures alluding to architecture coexist with simple but vast fields of marks, drips and staining.

At a time when we are immersed in a cacophony of media images and sounds, and live in a climate of anxiety often provoked by invisible and abstract adversaries, the four fundamental expressive art forms — painting, sculpture, installation and performance — are amalgamated over the course of the exhibition, with contributions from Philippe Parreno, Adel Abdessemed, Roni Horn, David Hammons, Mark Grotjahn, Marlene Dumas and many more.

These bird book paintings mix fine abstract marks with more translucent washes in oil paint; some also feature more intricately layered textures and colours.

Pollock's energetic «action paintings», with their «busy» feel, are different, both technically and aesthetically, from the violent and grotesque Women series of Willem de Kooning's figurative paintings and the rectangles of color in Mark Rothko's Color Field paintings (which are not what would usually be called expressionist, and which Rothko denied were abstract).

He liked the effect, and made it his own, combining the wiped marks with sprayed loops to create complex abstract fields that began to look, squinted at from a distance, like black and white reproductions of paintings by Franz Kline or de Kooning.

The luridly colored spray paint conjures the machismo and brio of the best street artists, while the abstract gestures recall Abstract Expressionists like Mark Rothko and Richard Pousette - Dart.

Tom seamlessly fuses academically realistic painting techniques with looser, more abstract marks.

Mark Bradford is known for abstract paintings and collage - based works that recapture mid-century American art's capacity to conjure the sublime and evoke deep feeling, while incorporating layers of social and personal commentary.

If you squint, these works might even look like an abstract painting by Barnett Newman or Mark Rothko.

«Mehretu's abstract paintings, which are created with layers of acrylic on canvas followed by marks in pencil, ink and more layers of paint, were already fetching six figures in 2006.