Sentences with phrase «abstract painting surveys»

This month two galleries in New York, Artjail and Edward Thorp, are presenting group abstract painting surveys.

I'm struggling to think of a decent abstract painting survey show (from any period) outside London since the «Indiscipline of Painting» at Warwick.

Not exact matches

For MoMA's first contemporary painting survey in recent memory, curator Laura Hoptman pulled together work by 17 artists, most of whom work with various abstract formal vocabularies ranging from the expressionistic to the starkly minimal.

BEST EXHIBITION SCHEDULE AT A MUSEUM IN UPHEAVAL The Met's, which included shows of camera - phone images exchanged by 12 pairs of artists; the nearly abstract etchings of the 17th - century Dutch artist Hercules Segers; Marsden Hartley's Maine paintings; an astounding survey of Japanese bamboo art and basketry (through Feb. 4); and, of course, the recently opened shows of David Hockney's paintings (through Feb. 25) and Michelangelo's drawings.

«Functioning as a survey of recent developments in abstract painting, the show spans a diverse range of work culled from 25 New York - based artists.

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.

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.

The reinstallation triumphs despite the loss of a pivotal long - term loan of a major, privately owned Jackson Pollock painting, The Blue Unconscious (1946), which was on view at the MFAH from 2007 until the recent Henry Ossawa Tanner survey, which the abstract expressionist collection was temporarily removed to accommodate.

Like other encounters with «masterpieces» at the Guggenheim, a 1996 survey of abstract painting and «The Tradition of the New» from 1994, this exhibition pretty much ends twenty years ago, with Art Povera.

CARMEN HERRERA: LINES OF SIGHT Spanning over 50 years, this survey of Carmen Herrera (born in 1915 in Havana) also helps fill in the narrative of post-World War II abstract painting migrating from Europe to the Americas.

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.

Exhibitions during the anniversary celebration include Opener 29: Arturo Herrera, (June 6 — August 30, 2015), featuring new works from the Berlin - based artist's recent body of abstract paintings for which he selected small books from flea markets, manipulating and altering the found objects; Machine Project — The Platinum Collection (Live by Special Request), (September 19, 2015 — January 3, 2016), which will feature a series of interventions, performances, and happenings created for the Tang by Skidmore alumnus Mark Allen in collaboration with his Los Angeles - based collective Machine Project; and Alma Thomas: A Retrospective (February 6 — June 5, 2016), which will explore the work of this influential but sometimes - overlooked artist in the first museum survey of her work since 2001.

Painting, photography, construction and most especially all the hybrids in between conventional genres are pursued in this collage survey, with artistic intentions from the narrative to the minimal and modernist, landscape, portrait, cultural motif, abstract expressionism, formal poetics, nostalgia, emotion, and technical bravado.

Warren Rohrer, Paintings: 1972 - 93, 2003 Text by Susan Rosenberg 80 pages, Softcover Published by Philadelphia Museum of Art ISBN: 0 -87633-166-5 This text accompanies the first museum survey of the mature work of Warren Rohrer, one of the premiere abstract artists to work in Philadelphia in the 20th century, bringing together 32 large - scale paintings from the years 1972Paintings: 1972 - 93, 2003 Text by Susan Rosenberg 80 pages, Softcover Published by Philadelphia Museum of Art ISBN: 0 -87633-166-5 This text accompanies the first museum survey of the mature work of Warren Rohrer, one of the premiere abstract artists to work in Philadelphia in the 20th century, bringing together 32 large - scale paintings from the years 1972paintings from the years 1972 to 1993.

The artist Louise Fishman, primarily known for her large - scale abstract paintings, is the subject of two forthcoming exhibitions: «Louise Fishman: A Retrospective,» a fifty - year survey show at the Neuberger Museum of Art at SUNY Purchase, opening on April 3, 2016, and running through July 31, 2016; and «Paper Louise Tiny Fishman Rock,» an idiosyncratic presentation -LSB-...]

This text accompanies the first museum survey of the mature work of Warren Rohrer, one of the premiere abstract artists to work in Philadelphia in the 20th century, bringing together 32 large - scale paintings from the years 1972 to 1993.

Exhibitions during the anniversary celebration include Opener 29: Arturo Herrera (through August 23, 2015), featuring new works from the Berlin - based artist's recent body of abstract paintings for which he manipulated small books found at flea markets; Machine Project — The Platinum Collection (Live by Special Request), (September 19, 2015 — January 3, 2016), which will feature a series of interventions, performances, and happenings created for the Tang by Skidmore alumnus Mark Allen in collaboration with his Los Angeles - based collective Machine Project; Affinity Atlas (September 5, 2015 — January 3, 2016), inspired by the work of pioneering cultural theorist and art historian Aby Warburg, charts an exploratory path built upon idiosyncratic treasures and contemporary art culled from the Tang's and Skidmore's collections; and Alma Thomas: A Retrospective (February 6 — June 5, 2016), which will explore the work of this influential but sometimes overlooked artist in the first museum survey of her work since 2001.

Spanning work made between the 1960s and 1990s, this concise survey traces the evolution of Tanaka's style from his dark and intense early paintings, which demonstrate abstract experiments with nihon - ga materials, to the refinement of his later works that display a fresh and profound lyricism through the use of color.

In fact, to focus too much on the artist's identity clouds the fact that Bradford is still coming down from «Scorched Earth,» a survey at the Hammer Museum that was zealously received, due in part to Bradford's ability to bring much - needed political concerns into his handcrafted abstract process of assemblage and painting.

Facets of the Figure is a thought provoking survey of the various aesthetic interpretations of the human form in painting and sculpture by juxtaposing museum - caliber works by Surrealists, realists, Expressionists, modernists, social realists, and abstract expressionists.

As reported by the New York Times and the Denver Post today, nine paintings from the Clyfford Still Museum will fill one of the two largest galleries at the Royal Academy of Arts in London (RA) during the first comprehensive survey of abstract expressionism to be mounted in Europe in more than 50 years.

It surveys a cross-section of nearly thirty established, mid-career, and emerging artists currently living and producing abstract paintings in this same historical city.

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

The centrepiece of this concise, country - hopping survey of abstract painting is a large untitled 2010 canvas by du jour abstractionist Zander Blom, which explicitly quotes Mondrian; it is also the oldest work on show.

If the recent retrospective at MoMA helped us realise that de Kooning was in on the joke of painting all along (he was neither «abstract» nor «expressionist», and mindful of earnestness as the enemy of painting), then Pensato's survey should be seen as a successful presentation of why that joke still matters.

Westfall has been included in several important survey exhibitions of abstract painting including: Abstraction / abstractions, geometries provisoires at the Musée d'art moderne in Saint - Etienne, France in 1997 and in two exhibitions titled Conceptual Abstraction, first at Sidney Janis Gallery in 1991 and in the exhibition that revisited that show which took place at the Hunter College Art Gallery in 2012.

Where previous monographs have focused on a single genre within the artist's vast output, this stunningly illustrated survey encompasses his entire oeuvre, now stretching across more than a half - century of activity, including photo - paintings, abstracts, landscapes and seascapes, portraits, glass and mirror works, sculptures, drawings and photographs.

The group exhibition Abstracting the Seam surveys the ways in which needleworking strategies permeate the painting, collage, video, textile, and installation art by seven contemporary artists whose work addresses the kaleidoscopic urban experience.

A survey of the artist's work from 1958 to 1970, as he turned from small abstract paintings to large acrylic discs and columns, and then his trademark site - specific works of light and space.

Fresh off her survey at the Whitney Museum, San Francisco Beat generation icon Jay DeFeo also set a record with Sotheby's sale of a late, shadowy abstract painting for $ 233,000 — rocketing past its estimate of just $ 30,000 - $ 40,000.

In any survey of post-war abstract painting, an inescapable topic of discussion is the grid.

Julian Schnabel: Art and Film surveys Schnabel's work as a painter from the mid-1970s to the present and features more than 50 key works, each revealing how Schnabel's abstract and figurative paintings, photographs and sculptures articulate his fascination with cinema.

Artist abandoned the conventions of brush and easel and played with new materials and methods of artistic gesture: commercial paints and housepainter's brushes, working on unstretched and unprimed canvases, moving the canvas to the floor, and applying paint with hands.This essential introduction spans the international breadth, conceptual depth, and seismic impact of Abstract art with a thorough survey not only of the big names such as Picasso, Klee, Kline, Rothko, and Pollock, but also lesser - known figures who made equally significant abstract contributions, including Antoni Tàs; pies, K.O. Götz, Ad Reinhardt, and Sophie Taeuber - Arp.

When Deitch first arrived at MOCA, in 2010, he was intent on staging two major surveys: One was of figurative painting, and the other, of abstract painting.

He has been included in several important survey exhibitions of abstract painting, including both exhibitions titled Conceptual Abstraction, first at Sidney Janis Gallery in 1991 and in the exhibition that revisited that show, and which was held at the Hunter College Art Gallery in 2012.

This comprehensive exhibition, the first full - career survey of the artist's work, brings together more than 130 paintings made between 1949 and the mid-1990s, from the voracious experimentation of Hantaï's early years in Paris through the justly renowned abstract canvases he began producing in 1960 in the medium he called pliage, or «folding.»

He has been included in several important survey exhibitions of abstract painting, including both exhibitions titled

Mergel also has presented several exhibitions in the ICA's Momentum series, including Momentum 15: R.H. Quaytman, Exhibition Guide, Chapter 15, the first solo museum exhibition of new paintings by this Boston - born artist, recently selected for the 2010 Whitney Biennial; Momentum 13: Eileen Quinlan, My eyes can only look at you (2009), a survey of 32 abstract photographs by this SMFA alumna; and Momentum 11: Nicholas Hlobo, Vula zibhuqe (2008), which featured drawings, an installation, and a performance by this South African artist.

Just a few days before installing the exhibit High Times, Hard Times: New York Paintings 1967 — 1975, which features over 40 significant works by 30 artists and will be on view at the National Academy Museum from February 15 until April 22, 2007, curator Katy Siegel welcomed David Reed, who serves as the exhibit's advisor, and the Rail's Publisher Phong Bui to her home in Boerum Hill to discuss the work and artists included in this broad survey of experimental abstract painting.

Curated by Brendan Carroll, and including my work, the show presents an informal survey of current practices in abstract painting.

A pioneer of non-objective painting long before the male artists credited for the style's genesis such as Wassily Kandinsky, Piet Mondrian, and Kazimir Malevich, her bold abstract paintings are finally being brought to major institutional light in the first major U.S. solo survey of her work this fall — and the world has never been more primed and ready for her.

His work was included in «The Art of the Real,» the Museum of Modern Art's groundbreaking 1968 survey of Minimalism and Color Field painting, and in 1969 he exhibited a cycle of abstract paintings at Fischbach Gallery on a custom - built rectilinear structure that effectively turned the gallery inside - out.

«Drawing Into Painting» is a survey of abstract expressionist Joan Mitchell's works on canvas and paper from 1958 through 1992, the year of the artist's death.

Especially now, when abstract painting is everywhere, from the Museum of Modern Art's contentious survey The Forever Now, to artist - run spaces in Brooklyn, and the white cube galleries of the Lower East Side.

This sweeping survey exhibition seeks to exhume from historical misappropriation non-objective painting as a movement of European abstraction re-homed in the vertiginous violence of WWII to the streets of Manhattan and as a historical event in the history of art whose legacy singularly influenced the rise of abstract expressionism in the following generation.

DALLAS - A 10 - year survey devoted to Mark Bradford, a Los Angeles artist who is helping transform contemporary abstract painting, recently lured me to the Dallas Museum of Art.

Highlighting her adept and bold use of color, the presentation is a survey that brings together abstract paintings on canvas and paper dating from the 1950s to the late 1970s.

Nothing in Moderation Musée National des Beaux - Arts du Québec, Québec City (catalogue) 2016 Joan Mitchell: Drawing Into Painting Cheim & Read, New York 2015 Joan Mitchell - At The Harbor And In The Grand Vallée Edward Tyler Nahem Fine Art, New York Kunsthaus Bregenz, Bregenz (catalogue)(traveling to Museum Ludwig, Cologne, 2015) 2014 Joan Mitchell: Trees Cheim & Read, New York (catalogue) 2013 Galerie Max Hetzler, Berlin (catalogue) At Home in Poetry Poetry Foundation, Chicago An American Master Lehigh University Art Galleries, Bethlehem, Pennsylvania 2012 The Last Decade The Butler Institute of Contemporary Art, Youngstown The Last Paintings Hauser & Wirth, London 2011 The Last Paintings Cheim & Read, New York (catalogue) Paintings from the Fifties Lennon, Weinberg, Inc., New York 2010 The Last Decade Gagosian Gallery, Beverly Hills Inverleith House Royal Botanic Garden, Edinburgh (catalogue) Joan Mitchell in New Orleans: Paintings New Orleans Museum of Art Joan Mitchell in New Orleans: Prints Contemporary Arts Center, New Orleans Joan Mitchell in New Orleans: Works on Paper Newcomb Art Gallery, Tulane University The Roaring Fifties Galerie Thomas Modern, Munich 2009 Joan Mitchell: Drawings Kukje Gallery, Seoul (catalogue) Joan Mitchell: Sunflowers Hauser & Wirth, Zurich 2008 A Discovery of the New York School Musée des Impressionnismes, Giverny; traveled to: Palazzo Magnani, Reggio Emilia; Kunsthalle Emden, Emden (catalogue) Joan Mitchell: Sunflowers Cheim & Read, New York (catalogue) Joan Mitchell: Paintings and Pastels 1973 — 1983 Lennon, Weinberg, Inc., New York 2007 Leaving America Hauser & Wirth, London (catalogue) Joan Mitchell: Works on Paper 1956 — 1992 Cheim & Read, New York (catalogue) 2006 de Young Museum, San Francisco Joan Mitchell: A Survey 1952 — 1992 Kukje Gallery, Seoul (catalogue) 2005 Joan Mitchell: Prints from the Foundation Susan Sheehan Gallery, New York Joan Mitchell: The 1946 — 1952 Sketchbook Drawings and Related Works Pollock Gallery, Southern Methodist University, Dallas Joan Mitchell: Frémicourt Paintings 1960 — 62 Cheim & Read, New York (catalogue) Joan Mitchell Sketchbook 1949 — 51 Francis M. Naumann, New York 2002 Robert Miller Gallery, New York Petit Lennon, Weinberg, Inc., New York The Paintings of Joan Mitchell Whitney Museum of American Art, New York; traveled to: Birmingham Museum of Art, Birmingham, Alabama; Modern Art Museum of Fort Worth, Fort Worth; The Phillips Collection, Washington, D.C.; Des Moines Art Center, Iowa (catalogue) The Presence of Absence Cheim & Read, New York (catalogue) Memory Abstracted Edward Tyler Nahem Fine Art, New York Working with Poets: Joan Mitchell Tibor de Nagy, New York 1999 The Nature of Abstraction: Joan Mitchell Paintings, Drawings, and Prints Walker Art Center, Minneapolis 1998 From Nature to Abstraction Nave Museum, Victoria Paintings, 1950 — 1955 from the Estate of Joan Mitchell Robert Miller Gallery, New York 1997 IVAM Centre Julio González, Valencia Joan Mitchell: Selected Paintings Lennon, Weinberg, Inc., New York Galerie Won, Seoul Pastels by Joan Mitchell Phillips Collection, Washington, D.C. 1996 Joan Mitchell: Pastels Musée des Beaux - Arts de Rouen, Rouen Joan Mitchell: Paintings from 1956 to 1958 Robert Miller Gallery, New York (catalogue) 1995 Joan Mitchell: Tilleuls, 1978.

Recent major projects include Painting Air, an installation made for the artist's 2012 survey at the RISD Museum of Art, in which more than 100 panels of suspended glass of varying reflectivity refract and distort an abstract mural inspired by the colors of Claude Monet's garden at Giverny.

Painter Painter presents new work by 15 artists from the US and Europe in a focused survey of emergent developments in abstract painting and studio practice.