Featuring 12 internationally - based abstract and minimalist artists, Downshifting will transform RedLine's 6,000 - square - foot exhibition hall into a sanctuary of
abstract works with programming that explores sensory deprivation rather than spectacle and provocation.
Not exact matches
The meeting will include reports from ASR
working group chairs on progress within the
working groups, scientific presentations by ARM facility users and ASR principal investigators chosen from submitted
abstracts, reports from the ARM infrastructure staff on status and plans of the ARM observational facilities, scientific poster sessions, and breakout discussion sessions on specific topics associated
with the ASR
program or ARM facility.
For this
program,
abstract painter and Yaqui Indian Mario Martinez sat down
with Steven O'Banion, Director of Conservation at Glenstone, to discuss his life,
work, and personal philosophy.
As head of the visual arts
program at Bennington College, Paul Feeley
worked closely
with students and faculty — a group of
abstract painters and sculptors — such as Pat Adams, Helen Frankenthaler, Ruth Ann Fredenthal, Vincent Longo, Ken Noland, Jules Olitski, Larry Poons, David Smith, and Tony Smith.
Featuring
work by gallery
program artists Tim Bavington, Dimitri Kozyrev, Julie Oppermann, and Feodor Voronov, «L.A. / Tex» focuses on four
abstract painters that grapple
with duality.
That's where, as a sixteen - year - old participant in a summer enrichment
program, I parked in front of Adolph Gottlieb's Cadmium Red Above Black (1959), a typically monumental yet unusually compressed example from the
abstract expressionist's Bursts series, and had my first deeply personal encounter
with a
work of art.
For this
program,
abstract painter and Yaqui Indian Mario Martinez will sit down
with Steven O'Banion, Director of Conservation at Glenstone, to discuss his life,
work, and personal philosophy.
Brian Lund, the first artist to participate in the residency
program,
works with drawings that translate motion picture editing systems into engaging colorful
abstract compositions.
As co-agents of the Reeves's archive
with BravinLee
Programs, CB1 showed a selection of small paintings from 1997 as well as a larger, more recent group of
abstract paintings and various
works on paper, all made in the year before Reeves passed away.