Sentences with phrase «abstract work for their show»

They took up residence in our studio, next to the laboratories, back in March and have been working on a very exciting new body of abstract work for their show which takes the history of Rose Madder production (closely connected to Winsor & Newton) as the central theme.

Not exact matches

For her exhibition with Gavlak Gallery, Tompkins is showing works that range from early sketches for paintings to now iconic «Cunt» paintings that in a more abstract manner recall Courbet's «L'Origine du Monde&raquFor her exhibition with Gavlak Gallery, Tompkins is showing works that range from early sketches for paintings to now iconic «Cunt» paintings that in a more abstract manner recall Courbet's «L'Origine du Monde&raqufor paintings to now iconic «Cunt» paintings that in a more abstract manner recall Courbet's «L'Origine du Monde».

For 2015 BOS I've invited two dear painter friends, Scott Robinson and Meredith Hoffheins, to show new paintings with me in a presentation we've titled, Land Ausländer (which roughly translates to «foreign country» or «land alien»), because the three of us each incorporate abstract forms into a physical or imagined environment in our work.

Then the show turns to work by the second group, an imposing cadre of trained artists working in Los Angeles like Betye Saar, John Outterbridge, Senga Nengudi and Noah Purifoy, who worked for decades at the margins of the mainstream, exploring aspects of assemblage and found materials as well as political expression in often abstract forms.

The exhibition features Kusanagi's abstract paintings paired with his illustration work, which is being shown for the first time outside of Japan.

Sanín's work has been a part of the NMWA collection for almost three decades, but this is the first time the museum has dedicated a show exclusively to a geometric abstract artist.

No press release for this show, but we figure there'll be a mix of abstract and figurative work on view.

In the piece, the kitchen is empty; in the nursery, a monster fills the cradle and a giant black spider climbs over an open egg shape; and in the studio, the artist's husband, naked except for his cowboy boots, models for an abstract painting that's a miniature of «Silver Windows» (1967), a grid - based work from the hard - edge period (that's also included in the show).

The success of Gerhard Richter's work can be attributed to the reception of the Tate show in London but also the sheer volume of abstract works on the market which have been building steady momentum for several years now.

Of the last group of works in the exhibition, John Cannaday wrote in the New York Times, October 14, 1972: «The Cityscape is apparently an inexhaustible source of motifs for Mr. Inokuma, whose new abstract inventions are even more engaging than those in his previous shows....

The abstract work of Hilma af Klint was shown for the first time at the exhibition «The Spiritual in Art, Abstract Painting 1890 — 1985» organized by Maurice Tuchman in Los Angeles in 1986.

Focusing its energies on the mounting of exhibitions onsite and off - space, and on the publishing of artist books, La Salle de Bains is working towards new exhibition formats and methods of mediation, such as the 2012 show Tell the Children / Abstraction pour Enfants (an echo of Andy Warhol's Painting for Children Pop art show at Galerie Bruno Bischofberger, Zürich, in 1983), which introduced children (and adults) to very contemporary abstract paintings by artists including Claudia Comte, Lisa Beck and Olivier Mosset — all hung at children's eye height, on vividly patterned wallpaper.

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» Expert.

These abstract works were not shown during her lifetime, and on her death in 1944 she stipulated that they remain concealed for two decades.

Also seen the same day, down the block from Pace Gallery, in the show at Lennon - Weinberg Gallery, «H.C. Westermann: The Human Condition, Selected Works, 1961 - 1973,» some early drawings by H.C Westermann (1922 - 1981), done (as I overheard the gallerist explaining) when the artist was in the hospital being treated for testicular cancer — which he survived: his wife had brought him some crayons and paper, and he worked on a group of small drawings, some in the artist's characteristic graphic, cartoon - related style, some in a more abstract and less over-determined mode — after he recovered, these were packed away and never shown until now.

Entitled Drip, Drape, Draft, the show presents works by Robert Davis, a close friend of Johnson for more than a decade; Angel Otero, who he has known for some six years; and Sam Gilliam, an older artist from what Johnson refers to as «an almost lost generation of black abstract painters», with whom he recently struck up a mutually significant friendship.

San Francisco's Jessica Silverman was showing bright geometric abstract paintings by Berlin - based artist Shannon Finley for $ 5,500 for small works and $ 24,000 for large ones.

In his first solo show since the stunning three - hour theatrical work The Humans (2014), Singh offers «The School for Objects Criticized,» a witty light - and - sound installation in which a slinky, an abstract sculpture, and a bottle of bleach are among seven protagonists that critique the artist's latest exhibition; the work takes cues from Molière's The School for Wives Criticized (1663).

One of our favorite young abstract painters here at Supertouch is Brooklyn - based artist Eddie Martinez, whose show of gorgeous new work, Nomader, at Kohn Gallerycould easily be mistaken for a MoMA retrospective if you managed to forget what building you walked into.

She sources inspiration for her images from YouTube videos, Craigslist «free stuff» listings, and children's claymation projects to create works that show patterned repetitions of these abstracted references.

Holyhead's practice is abstract painting and the presentation of his watercolour drawings in this show provides a kind of language through which he explores what seem to be compositional and colour strategies for the larger works on canvas.

It seems almost unimaginable that the sparse, abstract works on show here were made by an artist known for canvases heaving under dense layers of paint.

For his first New York show with Hauser & Wirth, Mark Bradford is presenting a slew of new canvases and video works that reflect his ongoing engagement with what he calls «social abstraction» — abstract art that points towards social and political realities without descending into didacticism.

The Patricia Phelps de Cisneros Collection has outstanding holdings of geometric abstract art, and for this show the Royal Academy has selected works from a 50 - year period from the 1930s onwards.

For a new generation of abstract painters, the process of making an artwork often becomes an indispensable part of showing the work as well.

Following her recent retrospective in Germany and her inclusion in the major abstract expressionist shows across the world, the market for her work should continue its upward trajectory.

It's the first solo presentation of the abstract artist's works in the UK for over half a century (the previous was a show at the Whitechapel Gallery in 1963), and displays his important late creations from the 1960s — paintings with gravitas that subtly take hold of your attention.

Seen in contrast to abstract works in the show by, for instance, Sadie Benning, Wade Guyton and Vincent Fecteau, an artist whose work I've long admired — all, granted, coming at formalism from very different positions — the figurative works felt far more urgent.

For many years she painted isolated, precarious figures on break backgrounds reflective of her work in mental hospitals but in more recent years she has dealt with lyrical abstract landscapes in which paint or wax is layered in an open, free manner.She has had solo shows in the United States and Europe and her work has been reviewed in The Woodstock Times, Kouvolan Sanomat (Finland), Women Artist's News and The Village Voice.

At times, Taylor's shifts between the literal and the abstract are uncomfortable, particularly when they appear as a strategy for avoiding or dismissing the real - life implications of symbols and objects, as in his strictly formal rendering of the Confederate flag in the lithograph Dixie (1990); his series of prints portraying items in Hawaii with a tinge of wanderlust - inspired exoticism, «Ten Common (Hawaiian Household) Objects» (1989); and two bodies of work showing his attempt to depict various African conceptions of multidimensional, nonlinear time: «Latin Studies» (1984 — 85), which includes the aforementioned Untitled (Latin Study), and «Wheel Studies» (1981 — 85).

Among the works that did well were Lot 16, a charming small sculpture, one of three examples down in 1945 - 6, by David Smith, shown above, that sold for $ 220,000 (not including the buyer's premium) and had had a high estimate of $ 150,000; Lot 5, «Atantolone,» a gloss household paint on canvas of colored dots on a white field that sold for $ 170,000 (not including the buyer's premium), well over its high estimate of $ 120,000; Lot 14, a large 1943 painted wood and wire sculpture, «Constellation,» by Alexander Calder (1898 - 1976) that sold for $ 1,982,500 (including the buyer's premium), more than double its high estimate, and Lot 24, a larger Calder sculpture, «Trepied,» that sold near its low estimate for $ 1,542,500 (including the buyer's premium); Lot 20, a large and very interesting and abstract but not very colorful 1953 Francis Bacon (1909 - 1992), «Two Figures at a Window,» that sold above its $ 1.2 million high estimate for $ 1,542,500 (including the buyer's premium); Lot 27, «Tour III» by Brice Marden (b. 1938) that sold within its estimates for $ 1,487,500 (including the buyer's premium), tying the artist's record; Lot 41, «Grillo,» by Jean - Michel Basquiat (1960 - 1988) that sold for $ 1,102,500 (including the buyer's premium), also within its pre-sale estimates; and Lot 31, «Vierwaldstätte See,» a large black and white 1969 landscape by Gerhard Richter (b. 1932) that sold for $ 1,047,500 near its low estimate of $ 1 million.

Joshua Mittleman, for his first exhibition at castillo / corrales, will show a series of works based on the 8 - page inventory of the torture tapes, a new development in his work that looks at the politics of surveillance and government through abstract and minimal forms.

Henner reaches back in time with other works as well: for example the 18 aerial landscape photos that show a striking similarity to abstract expressionist paintings from the 1940s.

For The Armory Show 2018, Richard Saltoun will present a solo curated stand featuring works by conceptual and abstract artist, Li YUAN - CHIA (1929 - 1994).

Chanzit hopes the show will help to integrate women into the history of abstract expressionism, rather than kickstarting a flurry of similar shows: «The takeaway for me is to let our audiences know that there are more important works out there,» she says.

For The Armory Show 2018, Richard Saltoun will present a solo curated stand featuring works by conceptual and abstract artist,...

One of our favorite young abstract painters here at Supertouch is Brooklyn - based artist Eddie Martinez, whose show of gorgeous new work, Nomader, at Michael Kohn Gallery could easily be mistaken for a MoMA retrospective if you managed to forget what building you walked into.

At Victoria Miro, Wharf Road, where Something Curated met with the artist, Hernández is showing abstract works that continue his investigation into gesture and form while extending the innovative techniques of accumulation and removal for which he has become widely known.

Croisière (French for «cruise») was among his earliest abstract works, shown at Calder's first exhibition of abstract sculpture at the Galerie Percier in Paris in 1931.

Inkie: I have known Niels (Shoe) for many years now and always keep up to date with his work and particularly love the new Iridescent more abstract calligraffiti, each artist is showing a completely unique style for the 3 Kings show but I have also created a classic wild style co-lab canvas with Blade especially for this event.

Works from the 96 - year - old artist, who is a pioneer of abstract art in the Middle East, are on show for the first time in the UK.

I've been seeing Wright's site - specific abstract paintings for years now - but usually in group shows, where they are easy to overlook since he often works on a relatively small scale on ceilings, cornices and high up in the corners of rooms.

Odessa Straub, Ariel Dill, and Christian Sampson, all abstract artists, were asked to respond to the internal life of Gösta Peterson's image, which serves as the touchstone for the works seen in this show.

These shows let us see for ourselves that New York became identified with abstract expressionism because the artists who worked there in the»40s and»50s were in general just better at what they did.

Taking and reinventing classicist and old masters paintings as principal elements and focal points for his work in this show, he uses angular forms inspired by and abstracted from his historical outdoor use of the alphabet to compliment the figurative work that he pays homage to and slices - up in equal measure.

Shown together for the first time as an entire group, these small - scale, abstract works nevertheless contain different, recognisable «footprints» — ranging from an L - shape, a W - shape and an oval, to a crescent moon, an equilateral triangle and a figure - eight, among others.

«From narrative based works dealing with friendship, loss and fatherhood to non objective and abstract works this inaugural show at Carneal Simmons will serve as both an introduction to my work as well as a launch pad for things to come.

In curating this show Rich Jacobs and Jordin Isip have selected artists who have produced engaging works rooted in both abstract and figurative styles, though they may be more widely known for one or the other.

The show begins with Jeff Wall's photograph of a climbing frame in a suburban park — easily mistakable for a piece of abstract, geometric public art — and continues with diverse works highlighting the varied meanings arising from such apparently basic forms.

The Geometric Abstractions show at G262 Sofie Van de Velde featuring Charlotte Posenenske (who exhibited at Art Berlin Contemporary, read about it in the ABC 2014 article), Ilse D'Hollander and Svenja Deininger is a must see for those that appreciate abstract painterly work while the gorgeous photography work of Veronika Pot and Daisuke Yakota both look very tempting on the Contemporary Photography Route and finally the Vivian Maier — Who are You Vivian?