Sentences with phrase «abstracted human figures»

In the new body of work presented in this exhibition, landscape replaces abstracted human figures as the building blocks for the artist's work.

They will be looking at drawings in the exhibition Noguchi's Early Drawings in order to parse how Noguchi's serial imitations of canonical Modernist approaches to abstracting the human figure helped him develop the values and strategies that became his style.

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.

There are costs to the consciences of executives who come to see workers not as human persons, indeed fellow workers, but as abstract figures in computer printouts — mere mathematical entities subject to cool - eyed managerial restructuring.

As visitors engage directly with their surroundings and walk among the immersive excavation, they are met with sculpted openings in which jagged edges morph from abstract forms into the silhouette of a human figure,» a museum statement said.

The human figures are this time assembled out of abstracted forms in order to avoid an interpretation that would rely too much on pyschology.

Marcel Wanders» total environment will include several bodies of work: large abstract figural mirrors, such as Dysmorphophobia 1, 2 and 3, with carved details and cutouts, create an illusion of a character or ghostly figure; Self 2 is a steel cabinet and kinetic piece, balancing a sculptural ovoid form that abstracts a human head and physically rocks on the top surface; Tempter, an over-sized adult rocking unicorn is cast in bronze with metal chain stirrups; Shiqule Nuhai, two ceramic vases, monumental in height, reference Marcel Wanders» Delft Blue collection with a darker sensibility, using black glaze.

Many of her motifs are human figures and birds so figurative, yet their gender - neutral, profound expressions remind us religious sculptures with abstract and enigmatic quality.

«Sonic Figures» are geometric abstract creatures that come to life when they're shaken by a human hand.

Twombly began like the first generation, with suggestions of the human figure amid abstract designs.

Balkenhol's carved wood figures appeared first in 1983 in reaction to abstract formalism and conceptual art, and with the intention of reintroducing the human body in contemporary art imagery.

Composition with Two Figures, 1979, and Face and Feather, 1979, push the question of figuration versus abstraction to its limits, to the point where it becomes difficult to distinguish the human figure within the abstract composition.

Shapiro is mostly known for his works in bronze of linked cuboidal shapes, which read as abstract forms that play off of a likeness to the human figure.

It is important to the artist that in the intentional ambiguity of his abstract forms lurk chance reminders of human figures, animals and landscapes.

Referencing both a human figure and «the spirit of a bird,» as the artist says, this dark, abstracted form depicts a bird in the corvid family, which includes grackles, crows, and ravens, common in large cities around the world.

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.

Charles Ray was born in Chicago in 1953 and today lives in Los Angeles He started his career in the 1980s creating abstract art, and later introduced the human figure into his work, always confronting question of space.

David Park and Milton Avery — who bucked the trend and painted the human figure in abstract - expressionist times — receive deserved attention in a gallery show highlighting their substantial influence on two major postwar art movements.

Around the year of 1928, he began painting still lifes and human figures, but it wasn't long before he was dabbling in more abstract works as he was becoming increasingly more influenced by the likes of the aforementioned Pablo Picasso and Joan Miró [2].

Sculpture created by Barbara Hepworth is usually described as organic, abstract and suggestive of the human figure.

For example, in the book that accompanied her painting Aqueous Flesh (2009), Pundyk reveals that her reference for the human figure was clipped from a newspaper, tree branches from a photo taken out of her family - in - law's New York apartment, facial features from a candid photo of a friend on vacation in Paris, and an abstracted version of two women sourced from an image in a waiting room magazine.

This figure, often fragmented, sometimes even completely abstracted, takes on various forms, from the human face, at once raw material and object of symbolic representation, as with Benglis's objectifying caresses, to the full body as place and tool of the trial and pleasure of repetition, as with Nauman's amateur choreography, bordering on the absurd, to the traces and physical prints left by the artist - creator (or the «art worker» in his service), as with the irregular random geometry of LeWitt, to the peers (Donald Judd) and tutelary figures in the history of art who inspire Flavin's evanescent structures... Now a disenchanted statement «Double Eye Poke» offers a challenge to the being of perception and thought.

Since the 1960s he has been an international figure in the world of art, an inventive and uncompromising abstract painter who has continued to take the most extreme risks in his work, and to develop new ways of expressing his sense of wonder and delight in the world around us, and in the further reaches of the human imagination.

From Raphael's «The School of Athens» to Willem de Kooning's abstract renderings of the human body, the figure has held a central, though now, increasingly contested place in art history.

Although her work is abstract, the artist has acknowledged a strong correlation to the human figure.

The human figure is central to his work, and in this he was against the ascendant position of abstract art.»

This selection of works spans the artist's career to date and will highlight his principle contributions to sculpture: engagement with form in space, dialogue between sculpture and architecture, and the creation of abstract analogies for the human figure and landscape.

His approach to the human figure and the advancements of his stylistic techniques left a striking impression on the abstract art movement in America.

In this category I would put two of the five freestanding sculptures found in the first of the exhibition's two rooms, David Hare's almost entirely abstract «Figure Waiting in Cold» (1951) and Germaine Richier's animal / human hybrid «The Devil with Claws» (1952).

Over the course of his career Terry Winters has expanded the concerns of abstract art, beginning with botanically inspired images (cells, spores, seeds) and going on to explore biological processes, scientific and mathematical fields, and issues raised by the interaction of information technologies and the human mind, while maintaining a strong modernist sensibility that reveals itself in the symbolic languages of figures and lines he develops in his work Winters (born 1949) received a BFA from Pratt University, New York, in 1971.

The most pervasive artistic problem in these years concerned figuration: Pollock seems to have wanted to accommodate human or abstract figures within the dripped webs that characterize his masterpieces of 1947 - 1950.

The American artist David Salle (born 1952) combined the human figure with abstract forms in many of his works, presenting disturbing meditations on our modern existence.

Seen vertically, Forms 1, might show two abstracted human, animal or machine figures, inhabiting a space in which there are other unspecified objects, the figure on the right is possibly carrying something.

He developed a sculptural language, experimenting with figurative and abstracted elements of the human figure, in particular the female body, in combination with organic lines.

His abstracted figures and landscapes, however, reflected an affinity with the darker vision of European artists like Oskar Kokoschka and Edvard Munch, or more nearly contemporary artists like Alberto Giacometti and Francis Bacon, who shared his sense of human conflict and existential angst.

He is most known for his renderings of isolated figures, as well as his depictions of animals and humans in an abstract, expressionistic manner.

Antony Gormley also delivers a typically glib statement in which an abstract field is divided by an elongated human figure.

Like Calder, whose abstract stabiles make playful allusions to the natural and animal realm, Joel Shapiro explores the metamorphic possibilities of geometric figures and forms, referencing the human body, spirit and gesture as he merges figuration with abstraction.

Hinkle's abstract «un-portraits» of elusive figures — the artist draws them with handmade brushes while improvising dances to blues, hip - hop, and Baltimore Club music — pivot between real and imagined narratives representing thousands of black women who have disappeared due to colonialism, human trafficking, homicides, and other forms of erasure.

Moving from black and white to color, from 35 mm to large - format cameras, and from the human figure to landscapes to abstracted detail, he has produced an unusually varied body of work united by its arresting beauty and subtle engagement with social issues.

The work is rendered in abstracted landscapes that contain realistic imagery of human figures and Americana motifs.

The new paintings propel the artist's dexterity with painterly mark - making beyond concerns of spatial realism and the human figure into the viscerally abstract.

They are abstract to be sure but relate to the human figure in ways alluded to in the titles of two paintings, Demoiselles, (2013) numbers two and five.

Though the works appear abstract at first glance, upon closer inspection they reveal an interest in representational imagery, with geometric forms giving way to human - like figures.

The collection features 3 - dimensional representational pieces focused on the human figure plus drawings by sculptors and abstract works.

«Music, the human figure, and nature can provide the perfect point of departure for the artist inclined toward an abstracted, more purely poetic approach to the visual arts,» according to Maas's artist statement.

It has always been — either as a struggle to expand the ways and the forms of representing the human figure or as the starting point to which many artists opposed in an attempt to create more experimental or abstract art.

Confronted by an art scene dominated by the Abstract Expressionists, and having no truck with abstract painting, he just kept doing what he'd always done: painting narrative and acerbically observant scenes of life keyed to the human figure, often his own, sometimes as an element of remarkably assured and phlegmatically grotesque allegory.

In these works, the original human figure is transformed into parts of collaged images placed in abstract landscapes.

The installation will include a selection of sculpture in steel, painted and unpainted, spanning the artist's career to date and highlighting principal aspects of his long career: engagement with form in space, dialogue between sculpture and architecture, and creation of new, abstract analogies for the human figure and landscape.