Sentences with phrase «abstract painting structures»

gures) and abstract painting structures that are constructed and dismantled throughout the painting process.

Not exact matches

Groff admires Rego's «vigorous treatment of the paint surface and a gritty abstract structure.»

James Little, 60, also has an affinity for color, design, and structure in his hard - edge abstract paintings that are strongly influenced by jazz.

Alongside letter - based graffiti, Myne paints abstract images that fuse elements of the organic, natural world and the rigidity of man - made structures and architecture.

To me great landscape painting is abstract painting that also has a structure and is intrinsically bound to certain visual restrictions.

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.»

I thoroughly enjoy the abstract structure of all paintings.

September 9 - 28, 2008 In 2007 Sydney Ball revisited the direct pictorial architecture of his Canto paintings to develop Structures 2, a series of radiant abstract colour works.

The lyrical abstraction of these paintings is contrasted with smaller geometric abstract paintings, rigid in structure and form, but handmade, with deliberately imperfect and variably weighted lines, in an ironic and humorous way.

Included in the exhibition are a series of paintings, photographs and collages that use the crystalline abstract structures of rocks and minerals to create visual relationships between seemingly disparate forms.

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

By melding these diverse and humble sources with polyester resin as a binding agent, Mallary sought to reconcile structure, gesture and content, in ways not unlike his abstract expressionist forebearer Franz Kline, whose paintings combined energetic brush work with architectonic forms originally inspired by his surroundings.

Expand your perceptions of abstract painting at this opening celebration that features three Inherent Structure artists who address the legacies of abstraction through their distinctive but ever - evolving approaches.

Organized by the Wexner Center, Inherent Structure showcases a multigenerational group of artists who challenge abstract painting's historical associations with chance, gesture, and aesthetic purity.

Inherent Structure showcases a multigenerational group of 16 exceptional artists who challenge abstract painting's historical associations with chance, gesture, and aesthetic purity.

Always to be counted on for pushing the perimeters of her intensely optical abstract paintings, this show finds Ferris, now 41, experimenting, rethinking, slowing down, mixing marble dust into her oil paint, laying down stenciled polygonal shapes, wiping out areas of canvas, leaving severe spray - painted black lines as structure.

Less an exhaustive survey of contemporary abstract painting than a bringing together of extraordinary works by exceptional artists, Inherent Structure encourages viewers to meditate on the underlying sources and influences of abstraction by providing varied and multiple manifestations of it.

Mental maps form the basis of his working method: they push against the edges of the picture plane; his larger paintings exceed a strictly 2D plane, being more like relief sculptures, employing layer upon layer of collaged forms — abstract painting, ephemera from travel, photography and juxtaposed linear structures — to denote the performative aspect of his initial research.

The paintings that follow here, through the early 1950s, further distill this abstract mood, with formal structure evolving into ever - more - expressive deployments of color and paint - handling — the siren flash of Orange Personage (1947), the blood and bones of The Hotel Corridor (1950).

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.

Bringing together three painters with distinct oeuvres — that have been, at times, linked to the legacy of German painting, or even of Albert Oehlen himself — the panel will consider abstract painting in relation to other contemporary manifestations of abstraction in economics (market speculation), philosophy (anti-essentialist thought, questions around the structure of time, semiotics), digital culture (sampling, rendering), and aesthetics more generally (considerations of form, the notion of style).

His abstract paintings probe the structures of urban society often defined by race, gender, and class.

Laura Jane Scott's vividly abstract compositions embrace not only the two essential elements of Abstract Hard Edge Painting, colour and structure, but also principles of Conceptual Art.

Focusing on line, color, form and structure, J.T. Kirkland combines wood and paint into uniquely warm and abstract paintings in the minimalist vein.

Best known for his large - scale abstract paintings that examine the class -, race - and gender - based economies that structure urban society in the United States, Bradford's richly layered and collaged canvases represent a connection to the social world through materials.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

By the late 1940s his paintings and works on paper were consistently abstract and, in a development shared with members of the PLASTICIEN group, became more geometrically structured beginning in the 1950s.

Learning from Monet's masterful techniques and somehow using them would need a new structure and organisation within an abstract painting to take the place of objects.

If I had any way of abandoning the object as the bearer of this structure, I would immediately start painting abstracts» (G. Richter, «Notes 1964 — 65», in D. Elger and H. Ulrich Obrist (eds.)

It would be to a degree perverse to look at Thiebaud's famous paintings of cakes, pies and ice cream cones as abstractions, but it is their abstract quality that raises them above the acres of canvases painted by contemporary realists who get so caught up in depicting detail that they lose all compositional structure.

If I had any way of abandoning the object as the bearer of this structure, I would immediately start painting abstracts» (G. Richter, «Notes 1964 — 65», in D. Elger and H - U.

Anne Russinof seems to use a wet - on - wet painting technique in which she — from what I have gleaned from her web page — uses gestural, abstract expressionist techniques accompanied with a more minimalist concern for structure.

Each painting's location was chosen specifically for its abstract structure; the locations were usually actual places, but the figures were imagined and «gr [e] w under the brush».

Influenced by Antony Caro's brightly coloured, abstract steel structures, designers began incorporating a host of new materials, including fibreglass, paint and acrylic sheets, into their playful compositions.

The productive tensions between an abstract expressionist engagement with surface, paint, and gesture and a more decisive shift into the ambiguous terrain between painting, collage, and assemblage find their fullest expression in Untitled [black painting with portal form], specifically in the way the composition is structured around (and then decisively proceeds from) a tonal, monochromatic center: a flat, inky, double - truck sheet of newspaper.

The body of work, which has not been presented together since Boyd's solo exhibition at Max Hutchinson Gallery (New York) in 1973, shows how Boyd furthered his abstract art by distilling paintings down to their core structure.

Formally, the work mimics that of the abstract or Color Field painters of the 1950s and 1960s, recalling the energizing presence of a «zip» within Barnett Newman's paintings, the structured clarity of an Ellsworth Kelley, or the post-painterly minimalism of a Frank Stella.

The exchange of movement and interplay in the installation will be navigated through freestanding frame - like structures fashioned into geometric patterns and abstract paintings.

These paintings, which have not been on view together previously, reveal Judd's transition from figuration to abstract compositions of color and lines that manifest his prevailing interest in structure and space.

A third - generation abstract expressionist, Meyer creates painterly ribbons and tangles of brushstrokes that amass into loosely grid - based structures, often under - painted with warm pastel washes.

For years Angelina has developed a method of abstract work that alludes to stain and pour painting traditions of Frankenthaler and Louis, among other influences, while contemplating urban and interior structures that make up today's world.

Just as the figurative paintings of Giorgio Morandi, whom he admires, are not about merely depicting vessels, so Sean Scully's definitive abstract works have narrative structures when they evoke associations of figure and landscape, of window and mirror, or of religious forms and themes such as altar or resurrection.

These paintings are a blueprint for the ecology and energy of views of common areas; they translate into an abstract representation of contemporary structures, yet indicate a ghost of ancient artifacts associated with places such as Stonehenge.

One of the most important abstract artists of our time, Scully (born 1945) allows conflict to take place in his paintings — conflict between structure and emotion, body and spirit, impulsivity and reflection.

If I had any way of abandoning the object as the bearer of this structure, I would immediately start painting abstracts.»

He continues: «Matisse's late work does contribute quite prominently, if not iconically, to a certain strand in the conjunction of modernism and abstraction which blurs the distinction between art and design, and more specifically between abstract painting and the decorative and applied arts... I've always considered Matisse's greatest contribution to art not his colour, which is undoubtedly exceptional, but his inventive painterly architectures reasserting what [painting] does (what, in a way, it has always done), what it delivers, by the act of continual reinvention; finding yet more new ways to keep it alive — and of course, keep it keenly separate from design and the applied arts even when in the act of using elements of those very disciplines to elaborate and enrich the spatial structures of his painting.»

This exhibition has been conceived as a process lasting six months, a symphony structured in three movements and an epilogue, each deriving from the study of a single key work that defines the whole movement: Echo VIII, a sculpture by Louise Bourgeois (First Movement); Fuji, an abstract painting by Gerhard Richter (Second Movement); and Silent Score, a performance by Pierre Huyghe (Third Movement).

Our presence at the abstract paintings reflect today is dominated by the binary structures of computer systems and is thus in itself abstract.

Adams's amalgamation of structure, line, and color places her in the strain of abstract painting that seems to have originated in New York in the mid-1980s, when Mary Heilmann began showing again after a long hiatus, and dates back earlier to Lee Krasner's paintings with floral forms.

Birks's large format paintings, which have been compared to topographic maps, are abstract explorations of organic structures.