Sentences with phrase «artists as abstract painter»

Not exact matches

In the early 1990s, as a young artist out of graduate school at Bennington College in Vermont, where he studied the work of mainstream abstract painters such as Helen Frankenthaler and Kenneth Noland, Odita got a job at Kenkeleba House in New York, owned by the painter Joe Overstreet, who collected and showed work by African American artists.

Stunned that he had never heard of these artists, Odita began a project to interview abstract painters from the 1970s and 1980s, such as Pindell, Loving, Edward Clark, Frank Bowling, and Stanley Whitney.

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.

The epiphany of this retrospective is that it debunks the myth of Richter as two artists — the abstract painter and the photo - realist.

Though Flack has become an artist with an impressive career as a representational painter, and later a sculptor of public monuments, her early experiments in abstract painting — like those of Pat Passlof, shown at Elizabeth Harris last year — mirror and impersonate the classic AbEx look.

It should be noted that while the overall effect of Murray's work is one of abstraction, and the artist described herself as an abstract painter in an interview included in the 1987 catalogue, there are many representational elements and references in her paintings, in a stylized style emerging from cartoons, comics, and graffiti as well as from pop artists like Claes Oldenburg: works are shaped like shoes or cups and contains stylized abstracted but identifiable figuration and still - life imagery.

This group of exclusively male artists were often referred to as action painters, a term coined by Modernist art historian Robert Rosenblum, referring to the abstract, gestural painting style.

For generations, artists such as Mark Rothko, Yves Klein and Kazimir Malevich have attempted to locate and convey a certain ethereal quality within a space of visual absence, one that abstract painter Peter Halley defined as a «serenity or radiance».

While she describes herself as a painter and has won international recognition for her abstract canvases embroidered with erotic motifs, Ghada Amer is a multimedia artist whose entire body of work is infused with the same ideological and aesthetic concerns.

Curator Gary Garrels worked with six abstract painters — Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool — to select one of their own recent paintings as well as works by other artists who have influenced their thinking.

One of the standard - bearers of the polarizing, hard - to - categorize group of contemporary painters that includes such artists as Mark Grotjahn, Nicole Eisenmann, Richard Aldrich, Josh Smith and Michael Williams, Joe Bradley (born 1975) is widely known for his bright abstract paintings and glyph - like drawings.

And yet, this American painter managed to forge his own path and become one of the most famous abstract artists, who stood toe - to - toe with titans such as Jackson Pollock, Willem de Kooning, Mark Rothko, Clyfford Still, and Barnett Newman.

Stella continues to influence contemporary artists, such as the American Mark Grotjahn and the German abstract painter Tomma Abts, who won the Turner Prize in 2006.

Visiting abstract painter Mike Elsass in his Front Street studio By Bill Franz Photo: Mike Elsass» signature rusted steel paintings hold as many as 40 layers of paint; photos: Bill Franz Mike Elsass may be Dayton's most colorful artist, and he works in what is definitely Dayton's most colorful studio.

The original common use refers to the tendency attributed to paintings in Europe during the post-1945 period and as a way of describing several artists (mostly in France) with painters like Wols, Gérard Schneider and Hans Hartung from Germany or Georges Mathieu, etc., whose works related to characteristics of contemporary American abstract expressionism.

Through the Mint Museum's collection you can trace the evolution of this genre from the work of the Hudson River School painters such as Thomas Cole and Sanford Gifford, who focused on the natural beauty of our country's topography, through the rise of Impressionism: a movement whose artists celebrated a more abstract, subjective view of their surroundings.

I was reminded of one of my favorite abstract painters, the Californian John McLaughlin, who was born in 1898 and whose career as an artist also began when he was 50.

These are impressively adept paintings with a confident sense of scale, but they do not have a distinctive character compared to contemporary works by artists such as Helen Frankenthaler, Grace Hartigan, or Joan Mitchell, to reference only the most noted women abstract painters of Schapiro's generation.

The gallery represents each of these artists, as well as other influential mid-century abstract painters including Roger Kuntz, June Wayne, and James Jarvaise.

Although all of the artists have donated works to help to support the magazine and the development of the art school, this exhibition has been carefully considered to reflect that which is current, significant and critical in contemporary painting, including abstract works by Thomas Nozkowski, Mali Morris and Phil Allen, and painters who have championed a figurative approach such as Chantal Joffe, Neal Tait and Dinos Chapman.

Here Robertson, the curator of two previous Hoyland shows, questions the artist about the new work and his development as an abstract painter...

Chris Moon is an outsider artist making serious waves as a painter with abstract work that recalls the intensity of Francis Bacon in its stretching of anonymous human forms into the endless void of the canvas

Artists I know personally, such as Christian Haub and other abstract painters, do not often get a show for me to review, but just as well.

He had just left the Chelsea School of Art after an unsatisfactory period as a figurative painter in an institution that overvalued abstract expressionism, and was «thrashing about as an artist» attempting to express his perplexity and anger at the dismal political situation facing the left at the time.

When British artists saw the first London exhibitions of American abstract painters such as Jackson Pollock and Mark Rothko in the late Fifties, they were astonished by the improvisatory freedom of their works, in which paint appeared to have been hurled on to the canvas without any preconceived ideas, and by the sheer size of the paintings.

The exhibition, «I speak now from the aesthetic and artistic point of view when I say that life with Michelle Grabner is dull» brings together the work of four antithetical painters who Michelle Grabner, the Chicago - based artist, heralds as profoundly enabling to her own unvaried and unimaginative abstract investigations.

Under new curator Clara M. Kim, a few trends have emerged among the 15 participating galleries: firstly, reappraisals of African - American artists later in life, among them abstract painter Jack Whitten (Alexander Gray Associates); secondly, «Global Pop», a nod to Tate Modern's autumn show «The World Goes Pop» (17 September — 24 January 2016), with Brazilian and Japanese Pop artists, such as Keiichi Tanaami at the stand of Tokyo - based Nanzuka.

He was a German - French, or Alsatian, sculptor, painter, poet and abstract artist in other media such as torn and pasted paper.

The exhibition will consist of a series of works of a standard size, in which the artist invokes abstract and representational visual languages, as well as his own status and behaviour as a painter.

Works by the earlier generation of artists represented in the show can be loosely situated within geometric abstraction and abstract constructivism, influenced by artists such as Piet Mondrian (1872 — 1944) and groups such as De Stijl (founded 1917) and the ZERO movement of the 1950s and 60s, as well as the American Colour Field painters.

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Here Robertson, the curator of two previous Hoyland shows, questions the artist about the new work and his development as an abstract painter since the 1950s.

And you've always been a self - proclaimed abstract painter and seen as an abstract artist.

Mason and Kahn's daughter, Cecily Kahn, is also an abstract painter, as was Emily Mason's mother, Alice Trumbull Mason, a founding member of the American Abstract Artists group in New York.

Schooled as an abstract painter and self - taught as a representational artist, Fischl mines historical painting and photography for source material.

The second was photographer and filmmaker Rudy Burckhardt's «Mounting Tension» which stars artist musician Larry Rivers as an obsessed artist, Jane Freilicher as his eccentric psychiatrist, and John Ashbery as a baseball jock turned abstract painter.

Their influence has extended to artists as diverse as abstract painter Jack Bush and the Painters Eleven, as well as contemporary Scottish (and former Montréaler) figurative painter Peter Doig.

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.

Kline was best known for his role as an «action painter» of abstract expressionism, a movement that was popular in New York during the 1940s and 1950s and introduced the world to artists including Jackson Pollock and Willem de Kooning.

An abstract expressionist painter, she'd already been making a name for herself as the go - to artist for tech companies.

As Alan Gouk pointed out recently, those somebodies often end up being Joan Mitchell and Philip Guston, American painters not without their own flaws, and it is on their account that scores of contemporary abstract artists readily and without question adopt a «hell for leather» approach to paint handling that through its complacency tends to have very familiar results.

After beginning as a figurative painter with socio - political themes, he won an international reputation as an abstract artist.

Alexandra Luke was one of two female founding members of the Ontario - based group of abstract artists known as Painters Eleven.

In the 1990s Drapell was widely exhibited in the United States and Europe, where he was recognized by American critic Kenworth Moffett and Parisian gallery owner Gérald Piltzer as a leading figure among the «new new painters,» a grouping of abstract artists in Canada and the northeastern United States whose work is characterized by high - keyed, glossy colour and built - up surfaces.

Probably benefiting from the buzz around the New Museum's current exhibition Trigger: Gender as a Tool and a Weapon (until 21 January 2018), which features some of the same artists, Engender shows how contemporary painters are complicating identity and the body with a range of abstract and figurative strategies.

In 1962, Greenberg was guest critic at the Emma Lake Artists» Workshops, where he introduced the work of second - generation American abstract painters Morris Louis, Jules Olitski and Kenneth Noland to a Canadian audience, stimulated Andrew Hudson as a critic, and had a significant impact on painters Kenneth Lochhead, Dorothy Knowles and Ernest Lindner.

A native New Yorker, he came of age as an artist during the late 1980s and early 1990s alongside other now established abstract painters, including Richmond Burton, Gail Fitzgerald, Daniel Levine, Carl Ostendarp, Kate Shepherd, Cary Smith, Dan Walsh, Mary Weatherford, and Stephen Westfall, among others.

They've played an important role in Houston's art history, as when the black artist Peter Bradley, at the invitation of Dominique and John de Menil, curated The De Luxe Show, an integrated show of abstract painters, at a Fifth Ward movie theater in 1971.

Her pioneering, immediate approach widened the practices of abstract expressionists and went on to inspire Color Field abstract painters such as Morris Louis and Kenneth Noland and generations of future artists.

Ten circular canvases graced Elizabeth Dee's upstairs annex in a jewel - box exhibition dedicated to Betty Blayton, the late abstract painter whose artistic achievements have been partially eclipsed by her roles as cofounder of New York's Studio Museum in Harlem and as an advocate for African American artists.