Sentences with phrase «abstract work over»

There's even good precedent in the success of abstract work over the last few years by younger artists who produced at similar volumes.

Not exact matches

Over the years the human figures in his prints have filled more and more of the space, leaving less and less for the plant forms, abstract patterns and calligraphy that appeared in early works.

This was not about such a moment but about nine years of attempting to resurrect something both special and normal; a protest march, inspired in the specific by a series of atrocious decisions by a supine governing body, but in the abstract by a culture that prioritises the needs of the owners over the fans, that listens to money over love, and that works not for us but for them.

Impersonal domination: linked to the very nature of work in nascent industrial capitalism, an unprecedented domination of work over time due to the fact that value, in the capitalist regime, is established on the basis of abstract social labour.

There are times when I already feel like I'm wearing the same things over and over — in an obviously repetitive way — and while no one at work has commented on it (or, I expect, noticed it), I just don't feel inclined to take chances for the sake of some abstract goal.

English character actor Timothy Spall plays the painter over the last 25 years of his life as his work began to grow more abstract.

«Though I've ranged from Alaska to New York, the influence of those years spent on Padaro Lane has figured into the abstract and representational work I've made over the years in almost every way.

Kurchanova writes: «Apart from large canvases covered by Pollock's signature all - over web of patterned, dripped or sculpted paint, a range of his smaller abstract paintings adds complexity to our understanding of his work as that of an «action» painter... Pollock's active engagement with printing presents his achievement as a painter to us from a completely different angle and complicates the understanding of his work as based in physical action and unmediated involvement of the artist's hand.

As his work has developed over four decades he has created an enormous variety of series of abstract paintings in an articulate, elegant and personal language.

The exhibition titled «Painting in Italy 1910s - 1950s: Futurism, Abstraction, Concrete Art,» presents works of Italian abstract art, bringing together fifty years of history over two floors.

Featuring works — over a third of which are newly created — by an international and intergenerational group of artists, the exhibition explores blackness as a highly evocative and animating force in various approaches to abstract art.

Held in high regard in his home country of France, and throughout much of continental Europe, the work of Pierre Soulages has never really achieved the same stature in the United States, despite his formal ties to the particularly American strains abstract expressionism and minimalism that have populated his work over the past sixty years.

Encompassing over 12,500 works made since 1900, the museum's collection includes works by such artistic luminaries as Pablo Picasso, Marcel Duchamp, Henri Matisse, and Georgia O'Keeffe, as well as 33 paintings, drawings, and collages by the acclaimed abstract - expressionist Robert Motherwell.

As with other abstract movements, these painters emphasized color and how the work corresponds with their own inner emotions over shape or form.

Even dedicated fans of his work have inevitably faltered at one or another of his forking paths over the past twenty years, while Bradley, on the other hand, shifts gears without pause: from starkly minimalist to gestural abstract paintings with stops in between, from discomfiting assemblage sculptures to boldly graphic silkscreens, and from jagged, sometimes comic drawings to obdurate geometric sculptures.

Peter Doig, whose practice over the past twenty years has drawn heavily on the language of cinema, layers the personal and public, figurative and abstract, visual and conceptual in works that resonate with narrative potential.

Over the past four decades, Richard Tuttle has thrown into question nearly every conceivable artistic convention and critical category to create an enormously inventive body of abstract work — one that embraces and intermingles drawing, painting, collage, book - making, sculpture and design.

A work like the 2000 photograph I Don't Want to Get Over You perhaps best captures much of his artistic output: Tillmans manipulated a brilliantly lit snapshot of clouds over the sea, with the sun barely breaking through, and the resulting picture is streaked with verdant green ribbons of abstract color, adding a painterly qualities to a technical imOver You perhaps best captures much of his artistic output: Tillmans manipulated a brilliantly lit snapshot of clouds over the sea, with the sun barely breaking through, and the resulting picture is streaked with verdant green ribbons of abstract color, adding a painterly qualities to a technical imover the sea, with the sun barely breaking through, and the resulting picture is streaked with verdant green ribbons of abstract color, adding a painterly qualities to a technical image.

At a slight angle to those, some of Bernard Frize's earliest abstract works were made peeled off the coloured skins from pots of paint left open in the studio, and applying them over the surface of the canvas.

While his imagery has changed several times over the years, the artist characterized himself as being «from the beginning, a minimalist abstract artist, a geometric abstractionist, with no recognizable shapes in my work» — other than circles, which have always captivated his imagination as «the perfect shape.»

Becky Yazdan's small paintings have become incrementally more abstract over the four years or so since I first saw her work, but they remain anchored by precise composition, balanced line, and subtle choice of color.

I'd go part way along with you, in as much as I absolutely agree that abstract painting has to get over the iconic works of the last century and discover some new territory.

A major American and Japanese sculptor and designer, Isamu Noguchi spent over six decades creating abstract works based on both organic and geometric forms.

To reduce the 40 - year career of our most flamboyant non-figurative painter — he insists on «non-figurative» in preference to «abstract» — to 22 canvases is like limiting Gary Sobers to that one over when he hit every ball for six; but in the confinement of the Sackler Gallery it works.

In the introduction to a 2003 essay on Tomaselli's work in Parkett magazine, curator James Rondeau writes: «Over the course of the last ten years, Fred Tomaselli has established an international reputation for his meticulously crafted, richly detailed, deliriously beautiful works of both abstract and figurative art.

Over the past decade, choreographer Pam Tanowitz has created a body of work that fuses ballet with classic modern dance, creating abstract movement that challenges stylistic expectations, as well as conventions of composition and the concert - going experience.

The final room of the exhibition, which made a considerable impact, was given over to major works by the abstract expressionists.

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).

Today, he works obsessively, over and over, in exploring abstract painting as a physical phenomenon.

Having abandoned painting for over two decades, Mack resurrected his practice in 1991 and began his Chromatische Konstellation (Chromatic Constellation) series of large - scale paintings and works on paper that explore colour, tonal scale, light, rhythm and abstract patterning, which he continues to this day.

The Tomassos and Schubert take over a large stand for a display that mixes Bridget Riley's abstract works on paper with ancient and Old Master portrait sculpture.

Nature C — a four - panel work measuring over 12 feet wide — is a rare example of Zhang's early abstract ink work on paper.

Though Binion's over forty year investigation of abstract painting has been continual, his work was not widely seen until several years ago.

Over half of the exhibitions at the Tang Museum have spotlighted traditionally underrepresented artists, including a recent survey of works by abstract painter Alma Thomas and an upcoming exhibition of work by artist Njideka Akunyili Crosby.

Over the past few years the backgrounds have gotten abstract and hectic, colors have gone haywire as he switches color mid-brushstroke and inverts shadows and highlights, and topographical line work has proliferated to both render volumes and collapse space.

Another influential aspect of de Kooning's work over the decades has been his ability to explore abstract forms in some works while, at the same time, exploring frankly figurative or landscape motifs in other works.

Bloore was already a sophisticated abstract painter in his own right, working in all - over configurations in enamel scraped on masonite.

Since 2003, his work — better described as abstract landscapes — has been the object of various solo shows and group exhibitions all over the world, including Vienna, Houston, Beirut, and South Korea.

Over the course of nearly half a century, Robert and Jane Meyerhoff acquired works by some of the most influential American artists in the postwar era, building a collection that bridges the divide between abstract and figurative painting.

In his richly hued, minimalist works, Kim seeks to push the edges of what we understand as abstract painting by using the medium to develop an idea that typically gets worked out over the course of an ongoing series.

By modulating the dye on each tinted fiber, she asserts a tighter than ever control over her work's appearance and the tightest integration possible of abstract form and surface.

Over the course of his prolific career, from early 1960s monochrome paintings to more recent work inspired by Chinese art and culture, Brice Marden has established himself as one of the most important abstract painters of our time.

Credited for painting the first abstract work, Kandinsky changed his style over the years, from beginnings in figural painting to pure abstraction.

«While his contemporaries in Leipzig are using paint to explore the various forms of figuration that characterise their «school», over in Berlin, Anselm Reyle has been doing the opposite: revisiting the pioneering abstract work of people like Otto Freundlich, Barnett Newman, Ellsworth Kelly and Kenneth Noland, and giving it a disco treatment of neon, tin foil and glitter.

Eddie Martinez has long been a favorite of the Juxtapoz staff, and over the past 5 or so years, as his work has become more and more abstract, it has become more surreal and powerful in the process.

Any thought that Richard Wright's Turner - prize - winning fresco — an exquisite abstract work in gold leaf — ought to be saved for posterity can be abandoned: Tate Britain's art handlers sanded and painted over the work at the end of last week, following the closure of the Turner prize exhibition.

The present work exemplifies Richter's eloquent command of his medium, cultivated over decades of experimentation in both abstract and figurative registers.

Yet while all of the cities charted in these fragments are identifiable, the collaged pieces act as an abstracted gridded backdrop for the painted white circle at the work's center, a simple yet enigmatic form that suggests a face, a cloud, or a moon over a landscape.

The exhibition, which will only be seen at MoMA, presents an unparalleled opportunity to study the artist's development over nearly seven decades, beginning with his early academic works, made in Holland before he moved to the United States in 1926, and concluding with his final, sparely abstract paintings of the late 1980s.

He has painted on photos, painted over photos, and questioned the possibility of literally representing monumental tragedy, such as the series Birkenau (2014): four imposing works that had begun life as images of the Nazi death camp of the title, but then painted over to become inscrutable abstracts.