Consistently inventive, Stella, now 74, is one of the most significant artists to work in
the abstract tradition of painting, sculpture and print making over the past 50 years.
Not exact matches
Corwin writes: «In the
tradition of Klein and Dubuffet, Strobert chooses to site her artistic practice within the confines
of painting, while literally doing everything she can to reconfigure that discipline through a re-orientation
of mediums and with an expressionistic yet pragmatic eye... Strobert's
painting isn't
abstract painting but the abstraction
of painting.
I also believe that the
traditions of abstract painting (such as those developed by the three artists I mention above) are particularly suited to the task.
Carlos Salas is one
of Colombia's best - known contemporary painters, and some
of his monumental
abstract paintings will be included in this semi-survey, Carlos Salas: Latin America and the Global Imagination, which also addresses questions
of cross-cultural
traditions in today's art.
The bindi becomes a language or code we begin to read through works that elicit formal connections with
abstract expressionism, op art, and geometric abstraction from Western
painting and the tantric and neo-tantric
traditions of India.
From Norman Lewis to Joe Overstreet, the Harlem Renaissance — derived
tradition of African - American
abstract painting (which has historically had a primarily black audience) is intermingled with the
tradition of so - called self - taught or outsider artists such as Bill Traylor and Bessie Harvey (whose audience has been mostly in the rural south and mostly black); the more recent wave
of African - American conceptualism represented by Adrian Piper, Lorna Simpson, and others (whose work
These «lyrical abstractionists» sought to expand the boundaries
of abstract painting, and to revive and reinvigorate a painterly «
tradition» in American art.
From Norman Lewis to Joe Overstreet, the Harlem Renaissance — derived
tradition of African - American
abstract painting (which has historically had a primarily black audience) is intermingled
Caivano's works incorporate an uncompromising yet individual approach to the
tradition of abstract painting, drawing as much on unique perceptions
of colour, space, texture, volume and light as on art history.
These
abstract qualities generate a form
of psychological impressionism, reanimating a more than century - old
tradition of landscape
painting that insists on temporal and subjective experiences above representational content.
Each artist works in the
abstract formalist
tradition, but, through the development
of new painterly vocabularies and use
of unusual materials, attempts to redefine the boundaries
of painting.
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.
Many now see Wool as the heir to Andy Warhol, the next great link in an American
tradition of painting that began in the postwar years
of abstract expressionism and pop art.
Through the incorporation
of materials culled from the everyday, she is able to address numerous artistic
traditions including
abstract expressionism, minimalism, and color field
painting.
Barbara Schwartz was one
of several artists who sought to vitalize
abstract painting by making it more dimensional and like Marilyn Lerner, tried to link it to non-Western
traditions.
The retrospective at Allan Stone shows a painter taking up an intimate and lyrical
tradition of abstract expressionist
painting and making it his own.
Dan Coombs has suggested that the
abstract paintings of Tomma Abts are better understood «not so much as material objects in the
abstract painting tradition but as surrogate people with their own personalities.
Installation view February 26 — May 15, 2011 Marius Lut, Jan van der Ploeg, Esther Tielemans and Evi Vingerling How does the most recent generation
of Dutch painters relate to the
tradition — now stretching back a hundred years —
of abstract painting?
The U.S. Pavilion exhibition Tomorrow Is Another Day reflects Bradford's interest in renewing
traditions of abstract and materialist
painting, as well as his longtime social and intellectual interests, most notably in marginalized populations.
The
painting is made with bleached paper that is scored and molded by hand to produce a sculptural surface, renewing the
traditions of abstract and materialist
painting for the 21st century.
Fusing the
traditions of European
painting with the distinct character
of American abstraction, Scully's great achievement is the reinvigoration
of abstract painting with the metaphorical, the philosophical, and the sublime combined with the earthy tangibility
of paint.
Painting a landscape on the face
of an old hand saw or polishing an extraordinary tree root into an
abstract sculpture reflected one's access to free time, materials, the natural world and
tradition.»
Lambri's carefully composed and thought - out works evoke art - historical
traditions of minimalism and
abstract painting, and therefore, her images often display Modernist ideals
of framing, abstraction, and transcendence.
«Harvey Quaytman: Against the Static highlights BAMPFA's distinguished
tradition of mounting groundbreaking exhibitions
of abstract painting — a consistent strength
of our collection and exhibition program that dates back to a 1963 gift
of work from Hans Hofmann and continues through last year's Charles Howard retrospective.»
Finding materials for his
paintings in the hair salon, Home Depot and the streets
of Los Angeles, Bradford renews the
traditions of abstract painting, demonstrating that freedom from socially prescribed representation is profoundly meaningful in the hands
of a black artist.
His work makes references to the late modernist
tradition of the New York
abstract expressionists, yet stand out as the products
of a contemporary struggle, pointing at the grey blocks
of paint covering up graffitied walls
of Istanbul, metaphorically paralleling the country's everlasting attempt
of covering up creative progress
of free direction.
Bradford uses fragments
of found posters, billboards, newsprint and custom - printed paper to simultaneously engage with and advance the formal
traditions of abstract painting.
It is tempting to dismiss these attacks as philistine, but that would be to ignore an eminently respectable and artistically sophisticated British
tradition of disdain for
abstract painting.»
In a sense what these
paintings do is bring a synthesis
of the conceptual and the realistic; it is as if there is the conflux
of two grand
traditions: the purely
abstract and the purely objective.»
Since then he has been making
paintings that merge the
traditions of Islamic pattern and
abstract expressionism.
A gorgeous flood
of lilac splats hedonistically across «Kumari»; the
painting's surround configuration
of expressively handled discs
of green, aquamarine and red, all on a volatile stained ground
of yellow, places it in a well - established
tradition of abstract paintings that read as cosmic metaphors (Pollock's drip
paintings that were meant to mirror universal flux or more recently Julian Schnabel's blue splurge titled, tongue - in - cheek, «Portrait
of God»).
I fuse the domestic with the painterly
tradition of painting by staining, mopping, throwing, printing, spraying, dragging, imprinting, brushing, washing and bleaching pigments onto fabrics, drop cloths and canvases forming expressive
abstract patterns.
This
tradition, carried forth, expanded, and transformed over the course
of the 20th century, continues into the present with innovative approaches to the genre by: Patrick Wilson Ruth C. Horton Gallery Los Angeles artist Patrick Wilson creates luminous, sumptuously colored
abstract paintings composed
of richly layered geometric forms — lines, squares, and rectangles.
«Matino...
paints within the western
abstract tradition, using color and the physical act
of painting with a spirituality akin to the aesthetics
of Eastern civilization.»
«Yet the absence
of recognizable imagery in his work aligns Mr. Bhavsar more with American
traditions of abstract art, and in particular color field
painting; one is reminded variously
of the work
of the American painters Mark Rothko, Barnett Newman and Jules Olitski.»
Today, Yun's work has come to embody the intersecting
traditions of Korean scholarly
painting and twentieth century
abstract art.
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, Luc
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, Luc
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, Luc
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, Luc
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, Luc
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, Luc
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, Luc
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, Luc
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, Luc
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, Luc Tuymans
A pioneer
of infusing
abstract painting with influences from popular culture and craft
traditions, Mary Heilmann (b. 1940) is one
of the most important yet least recognized artists in the United States today.
Zuckerman - Hartung's
painting Notley is, in some ways, also an act
of disobedience against the
tradition of abstract painting.
And unlike Johannesburg, which dived headlong into
abstract expressionism, the
tradition of abstract painting here has always shown a strong European influence.
Faiz continues this
tradition with her large - scale oil
painting «Divider» (2015), by combining post-painterly abstraction with Albert Oehlen's version
of abstract art, an aversion away from recognisable forms.
This lecture begins by exploring the roots
of northern Romantic landscape
painting (as outlined by Robert Rosenblum in Modern
painting and the Northern Romantic
Tradition) and its influence on later modernist
abstract painting.
For all the surprise it caused over the Atlantic,
abstract expressionism was not the start
of something, but rather a beautiful ending, the epic finale
of a long
tradition of Romantic nature
painting, gone up in the fireworks
of Newman's zips, Pollock's drips and the smoky miasma
of Rothko's colour fields.
Bradford uses fragments
of found posters, billboards, newsprint, and custom - printed paperto simultaneously engage with and advance the formal
traditions of abstract painting.
This refusal to cohere to conventional notions
of abstract painting reflects the breadth
of Cain's influences — including
abstract expressionism, photography, the artist Ana Mendieta, and ceramics — and her desire to dismantle the male - dominated history and
traditions of painting.
With
abstract expressionism at its peak, and based on the
traditions of the
abstract avant - garde in dialogue with color field
painting, Kelly developed a vocabulary that left panel
painting behind.
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.
Xie Molin combines two
traditions in his machine - generated
abstract paintings: his classical training in fine arts and his use
of a tri-axial linkage
painting machine, continuing his father's legacy as an engineer.
For his second solo show COME OUT 2 SHOW THEM at Lichtundfire in the Lower East Side, New York - based artist Christopher Stout created a series
of abstract minimalist
paintings informed by the
traditions of Western Reductivistism and the Japanese philosophy
of wabi - sabi.
The Los Angeles artist's «Designer» photographs
of shop windows, taken with a cheap hand - held camera and then blown up to a just barely decipherable resolution, at once evoke 20th - century
abstract painting and the photographic
tradition of shop windows as subject matter that goes back to Eugene Atget and Brassaï.