Sentences with phrase «age of abstraction»

Portraiture in the Age of Abstraction.

Portraiture in the Age of Abstraction 18th April 2014 - 11th January 2015 National Portrait Gallery, Smithsonian Institution, Washington D.C.

Delaney's work has consistently had a presence in gallery and museum group exhibitions; in recent years these have included: Blues for Smoke at the Museum of Contemporary Art, Los Angeles, CA, which traveled to the Whitney Museum of American Art, New York, NY, and Wexner Center for the Arts, Ohio State University, Columbus, OH (2012); Face Value: Portraiture in the Age of Abstraction at the National Portraiture Gallery, Smithsonian Institution, Washington, DC (2014); Glenn Ligon: Encounters and Collisions at the Nottingham Contemporary, Nottingham, England; In Profile: Portraits from the Permanent Collection at The Studio Museum in Harlem, New York, NY (2015); Night Visions: Nocturnes in American Art, 1860 - 1960 at the Bowdoin College Museum of Art, Brunswick, ME (2015); and I Got Rhythm: Art and Jazz since 1920, Stiftung Kunstmuseum Stuttgart, Stuttgart, Germany (2015).

-- Gabrielle Selz in «Unstill Life: A Daughter's Memoir of Art and Love in the Age of Abstraction»

The new book by Gabrielle Selz, «Unstill Life: A Daughter's Memoir of Art and Love in the Age of Abstraction» (W.W. Norton & Company, May 5, 2014), covers some of the same ground, but as a whole reads better.

BASIC FACTS: «Unstill Life: A Daughter's Memoir of Art and Love in the Age of Abstraction» by Gabrielle Selz.

David Lehman The late Fairfield Porter, one of Ashbery's friends, a marvelous realist painter who thrived in an age of abstraction, wrote a poem in which he referred to John as both «lazy and quick.»

· slides > Portraiture in the Age of Abstraction.

As the title of the first major exhibition of his work, now at the Museum of Fine Arts, puts it, Fairfield Porter was a «realist painter in an age of abstraction.»

PARRISH ART MUSEUM - BOOK RELEASE EVENT on Friday at 6 p.m. featuring Gabrielle Selz's new book «Unstill Life: A Daughter's Memoir of Art and Love in the Age of Abstraction».

Alex Katz emerged in the 1950s as a figurative painter in an age of abstraction, challenging critics who shunned imagery in art, especially the figure.

Our present is often said to represent an age of abstraction and dematerialization, a time in which the virtual trumps the sensible.

Moffett is the author of several books, including; volumes on Jules Olitski, [5] Fairfield Porter «A Realist Painter in the Age of Abstraction» (co-authored John Ashberryamong others to accompany the 1983 retrospective exhibition of Porter's work Moffett organized at the Boston Museum of Fine Arts of the American realist's work)[6][7] and Morris Louis.

Porter's work underwent a reassessment after his death, helped by a major posthumous exhibition at the Boston Museum of Fine Arts called Fairfield Porter: Realist Painter in an Age of Abstraction.

Even in an age of abstraction, the rigorous cause of realism lives.

Diebenkorn pulled from the time - honored traditions of art history and recast them in an age of abstraction.

On the occasion of the only full - scale retrospective Porter's work has been given - the exhibition called Fairfield Porter (1907 - 1975): Realist Painter in an Age of Abstraction, which Kenworth Moffett organized at the Museum of Fine Arts in Bostonin1983 - I wrote that «For myself, though as a critic I had praised Porter's work on a number of occasions during thelast20yearsand though I knew it well, I found I was not really prepared for what I found in this exhibition....

Portraiture in the Age of Abstraction, National Portrait Gallery, Washington D.C. (2014), Paint Made Flesh at the Frist Center for the Visual Arts, Nashville (touring to the Phillips Collection, Washington D.C., and the Memorial Art Gallery, University of Rochester, 2008) and Wack!

Not exact matches

For our own age, overly captivated by abstraction, the task of philosophical reflection is often to reverse the process and recover living experience» living experience of God, who transcends our human conceptions and confronts us as a philosophy - defying Other even as He addresses us and makes Himself available to us.

In his early research into the child's world - view, Piaget showed that the thing - concept, as Whitehead criticized it, actually appears rather late in a child's development and represents an abstraction from earlier and more concrete perceptions (RME) Not until around ten years of age does the child come to see «things» in reality in the way the adult sees «things» in reality and uses the thing - concept consciously, that is argumentatively.

March 2011 featured many wonderful painting blog posts on diverse topics ranging from hard - edged abstraction to the Danish Golden age of figure painting and by a mix of established art writers and artist bloggers.

Larry Aldrich recognized this coming of age and called it Lyrical Abstraction.

Developed by the Tate Modern in London and debuting in the US at Crystal Bridges, Soul of a Nation: Art in the Age of Black Power examines the influences, including the civil rights movement, Minimalism, and abstraction, on artists such as Romare Bearden, Noah Purifoy, Martin Puryear, Faith Ringgold, Betye Saar, Alma Thomas, Charles White, and William T. Williams.

A champion of pure abstraction in an age that distrusts purity and prefers its art to be topical, he is a survivor from a bygone era when artists conceived their mission as a heroic and hermetic pursuit.

The battle between Formalism and Anti-Formalism, and its aftermath, obscured the realization that an important new generation and sensibility in American abstraction was coming of age in the late sixties.

Curator Ian Cofre brought together 10 artists who externalize the complexity of expanding awareness beyond the self in the Digital Age to evolve a personal language that vacillates between abstraction and representation.

During the later phases of Color Field painting; as reflections of the zeitgeist of the late 1960s (in which everything began to hang loose) and the angst of the age (with all of the uncertainties of the time) merged with the gestalt of Post-Painterly Abstraction, producing Lyrical Abstraction which combined precision of the Color Field idiom with the malerische of the Abstract Expressionists.

Combining her formal background in illustration, abstraction, landscape, figuration, and her interest in mysticism, spirituality and Kabbalah - Appel creates a uniquely original interpretation of the ages old Tarot deck, and is probably one of the only contemporary fine artists to undertake such an ambitious project.

However, beginning with Wassily Kandinsky's pioneering work in pure abstraction and his theorizing about «The Spiritual in Art,» many of the most spiritually ambitious visual artists of the modern age have found that their ambitions are best served by the stripped down, elemental language of abstraction.

The term came to refer to the work of artists who playfully flirted with Op art, Minimalism, and geometric abstraction with an emphasis on transcendentalist levity, boundary - dissolving luminescence, and — in place of New York Minimalism's hard - edged industrial materials — an embrace of cutting - edge space - age fabrication methods.

The rugged individualism of American Abstraction is paired with a wave of California new age stemming from the 90s.

Smith's work has also been included in important group exhibitions such as Painting 2.0: Expression in the Information Age, which opened at the Museum Brandhorst, Munich, and subsequently traveled to the Museum Moderner Kunst Stiftung Ludwig Wien (mumok), Vienna (2015 - 2016); The Forever Now: Contemporary Painting in an Atemporal World, The Museum of Modern Art, New York (2014 - 2015); The Painting Factory: Abstraction after Warhol, The Museum of Contemporary Art, Los Angeles (2012); ILLUMInations, the central exhibition at the 54th Venice Biennale (2011); Le Printemps de Septembre festival in Toulouse, France (2011); and The Generational: Younger Than Jesus at the New Museum, New York (2009).

Vito Schnabel Gallery is pleased to present The Age of Ambiguity: Abstract Figuration / Figurative Abstraction, a group exhibition that will mark...

2000 Luci in Galleria, da Warhol al 2000, Galleria Gian Enzo Sperone, Turin, Italy Grant Selwyn Fine Art, New York Peter Halley / Alex Katz / Sherrie Levine, Galerie Wilma Tolksdorf, Frankfurt am Main Glee: Painting Now, Palm Beach Institute of Contemporary Art, Lake Worth, FL; Aldrich Museum of Contemporary Art, Ridgefield, CT (catalogue) Around 1984: A Look at Art in the Eighties, MoMA P.S. 1, Long Island City, NY (catalogue) New Prints 2000, International Print Center, New York Flights of the Málaga Collection, Fundacion la Caixa, Málaga, Spain Hard Pressed: 600 Years of Prints and Process, AXA Gallery, New York (catalogue) Universal Abstraction 2000, Jan Weiner Gallery, Kansas City, MO Perfidy: Surviving Modernism, Kettle's Yard, Cambridge, UK Wall Works, Edition Schellmann, Munich From Albers to Paik: Works of the DaimlerChrysler Collection, Kunst Zürich, Zurich Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago Collectors: The Collection of Fondation Cartier for Contemporary Art, Palazzo Delle Papesse, Siena, Italy Bit by Bit: Painting & Digital Culture, Numark Gallery, Washington, DC American Art: The Last Decade, Loggetta Lombardesca, Ravenna, Italy (catalogue) Out of Order: Mapping Social Space, CU Art Galleries, University of Colorado at Boulder, Boulder, CO; travelled to Carleton College Art Gallery, Northfield, MN; Pittsburgh Center for the Arts, PA; Atlanta Contemporary Art Center, GA; Santa Barbara Contemporary Art Forum, CA (catalogue) Inka Essenhigh / Peter Halley, Mary Boone Gallery, New York Architecture & Memory, Lawrence Rubin, Greenberg Van Doren Fine Art, New York Sandra Gering Gallery, New York

A realist who came of age during an era predominated by abstraction — Abstract Expressionism to be exact — Katz has been linked with a number of artistic tendencies, such as Color Field painting, Pop Art, and realism — both «new» and the traditional.

Hales Project Room put the spotlight on rarely seen, richly stained abstractions created in the 1970s by American painter Virginia Jaramillo, whose practice has recently been rediscovered through important group shows such as Soul of a Nation: Art in the Age of Black Power and We Wanted A Revolution: Black Radical Women, 1965 - 85.

Hoptman notes that their experimental strategies and systematic distillation of painting practice eventually resulted in «abstraction's death by a thousand irrelevancies,» leading succeeding generations of painters to repudiate formalism and conclude that the age of content without subject matter was long gone.

He has also participated in important group exhibitions such as The Painting Factory: Abstraction after Warhol at the Museum of Contemporary Art, Los Angeles, Le Printemps de Septembre in Toulouse, ILLUMInations in the 2011 Venice Biennale, The Generational: Younger Than Jesus at the New Museum in New York, MoMA's The Forever Now: Contemporary Painting in an Atemporal World, and most recently, Painting 2.0: Expression in the Information Age, which showed at the Museum Brandhorst, Munich, and traveled to MUMOK, Vienna.

But his body of work completed over many decades, the artist died in 1993 at the age of 71, includes many figurative, landscape and still lives that served as a foundation for his large scale abstractions.

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.

Guest, Barbara, «Reviews and Previews», Art News (New York), April, volume 53, no. 2, p. 54 Devree, Howard, «About Art and Artists: Moderate Abstractions Make a Lively Exhibition at the City Center Gallery», New York Times, 8 April, p. 25 Newbill, Al, «Fortnight in Review: A Contrasting Trio», Art Digest (New York), 15 April, volume 28, no. 14, p. 20 «Coast - to - Coast: Guggenheim to Show and Buy «Younger» Painters», Art Digest (New York), 1 October, volume 28, no. 1, p. 14 McBride, Henry, «Americans looking east, looking west», Art News (New York), May, volume 53, no. 3, pp.32 - 33 & pp.54 - 56 Devree, Howard, «About Art and Artists: Display of Work by «Younger Americans» Brought Together by J.J. Sweeney», New York Times, 12 May, p. 36 Hunter, Sam, «Guggenheim Sampler: Abstract painting comes of age in a museum exhibition of fifty - four younger Americans», Art Digest (New York), 15 May, volume 28, no. 16, pp. 9 & 31 Devree, Howard, «Americans Today: Selection of Work From East to West Opens at Guggenheim Museum», New York Times, 16 May, section 2, p. 1 - Fremantle, Christopher E, «New York Commentary», Studio (New York), October, volume 148, no. 739, pp. 124 - 126 Arnason, H.H, Reality and Fantasy: 1900 - 1954, catalogue, Walker Art Center, Minneapolis Sweeney, James Johnson, Younger American Painters: A Selection, catalogue, Solomon R. Guggenheim Museum, New York 61st American Exhibition: Paintings and Sculpture, catalogue, Art Institute of Chicago Goodrich, Lloyd, «Whitney's Battle for U.S. Art», Art News (New York), November, volume 53, no. 7, pp.38 - 40 & 70 - 73

At nearly 80 years of age, Stella still seems one step ahead of the game, remaining the hyper, complex personality and deconstructionist of abstraction that brought him to international attention in the late 1950s.

An artist of poetic eloquence — his work fills a museum in Segovia — Vicente painted almost until his death at age 97 in Bridgehampton, New York, creating lyrical abstractions like «Color Luz» (pictured left, 1999) and «Untitled» (pictured right, 1999).

It could pass for one of those reductive lectures on how abstraction really works, but it manages to bring painterly metaphors into the video age.

He could pass for yet another contemporary European, keeping up the veneer of gesture and abstraction for a grungier age.

The artwork can range from realism to surrealism to abstraction and all 2D and 3D artists over the age of 18, regardless of location or experience, are encouraged to submit their best representational or abstract «Cityscapes» art and photography.

Pan's ab - ex style is simply a reflection of her personal journey, beginning in traditional Chinese art training from age 6, to her move West, where she was exposed to Western abstraction in depth.

My ab - ex style is simply a reflection of my personal journey, beginning in traditional Chinese art training from age 6, to my move West, where I was exposed to Western abstraction in depth.»

Vito Schnabel Gallery is pleased to present «The Age of Ambiguity: Abstract Figuration / Figurative Abstraction», a group exhibition that will mark Bob Colacello's curatorial debut.

The exhibition Machine Learning examines the relationship between abstraction and the information age, and presents four artists making new forms of pattern - based painting.