Sentences with phrase «artists from the early period»

Not exact matches

Filmed in aqueous greens and blues, its period design dripping with kitschy nostalgia and retro - futurism, «The Shape of Water» takes its cues from Golden Age Hollywood, including musicals, Bible epics and 1950s creature features, as well as the sleekly optimistic advertising imagery of the early 1960s: Elisa's best friend and next - door neighbor, Giles (Richard Jenkins), is a commercial artist working on a campaign for Jell - O, the shaky symbolic repository for the time period's most uncertain hopes and anxieties.

BEST GALLERY SHOW I REGRETTABLY DID NOT REVIEW «Ad Reinhardt: Blue Paintings» at the David Zwirner Gallery, which brought together 28 luminous abstract paintings from this artist's early - 1950s «blue period» — the most ever.

So this exhibition of around a hundred of his works, with a focus on Davis's mature period (1921 — 64), is something of a homecoming for the artist, who had a habit of going back to where he came from: The show emphasizes how motifs from earlier works tended to resurface in later pictures.

The collection is remarkable in that scores of artists are represented in depth, including works from the earliest period of their practice through their most recent works.

Focusing on Lassnig's self - portraiture, the exhibition presents works by the artist — most of them never previously exhibited in the U.S. — from all creative periods of her career, spanning her early involvement with graphic abstraction in Paris and Art Informel, to her later shift to figural representation.

I, YOU, WE features artwork from the 1980s and early 1990s and explores collective issues that concerned artists working during this period, including artists» responses to the AIDS crisis.

The exhibition combines a chronological display with a thematic approach, structured in a series of major chapters in the artist's career, with emphasis on two key moments: the period from 1923 to 1933, when Torres - García participated in various European early modern avant - garde movements while establishing his own signature pictographic / Constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.

In the 1980s, a decade when artists commonly appropriated styles or imagery from earlier art historical periods, Mark Innerst became known for beautifully crafted natural and urban landscape paintings that gave new life to the American tradition of the romantic sublime.

On view are many never before exhibited works, including watershed pieces from the AfriCOBRA period, as well as works reflective of the epiphany Williams had when first visiting Africa for Festac» 77, the Second World Black and African Festival of Arts and Culture, plus multi-media pieces created throughout the 1980s, 90s and early 2000s during the artist's time in Asia and Europe, along with select contemporary works.

At Birmingham's Ikon Gallery from 10th October 2015 to 17th January 2016, Scroll Down And Keep Scrolling, is the most comprehensive exhibition of Fiona Banner's work to date, re-presenting key early projects alongside recent and unseen works that span a period of 25 years.This exhibition is accompanied by a major new artist's book of the same title.

Although the artists themselves have emerged from different periods and motivations, a clear formal relationship between the selected works is apparent, and thereby reveals a current and earlier interest in abstraction that has not lost its relevance over recent decades.

Artists On Artists / Mickalene Thomas By Kara Walker Interspersed within my few remaining early issues of Ebony magazine from the 70s are faded liquor and cigarette advertisements, rich with period visions of black urban cool.

Yet, non-Western influences are cited only in discussions of the works by artists of color, while the overarching themes of industrialization and geometric abstraction as American art's primary interests in that period are preserved from earlier presentations of the collection.

More traditional paintings from a recent series of work pays homage to the late 1970s and early 1980s, the period which represents a coming of age for the artists.

The exhibition assembles the artist's work in a span of media and styles: from the figurative paintings of her early «visceral» period in the»60s, up through experiments in photomontage, photocopying and «geopoetry».

Out of Line highlights nearly thirty historical works — including painting, drawing, works on paper, and sculpture — by thirteen artists, primarily South American, who spent the greater part of their lives investigating the language of reductive abstraction during one of its most fertile periods, from the late 1940s through the early 1980s.

Drawing inspiration from their own cultural traditions, these artists use techniques and incorporate imagery and ideas from earlier periods.

An early, transformative piece, the present lot is number one from a small edition of two (plus one artist's proof), making it a rare example from a formative period.

Inspired by a period working at the Time / Life publishing company where he bore witness to the powerful impact of mass media images in shaping consumer wishes, Prince had first gained recognition in the early 1970s as an artist for his alteration of advertisements from the media, representing them in new, slightly changed compositions.

The dense, small - scale paintings included in this exhibition mark a highly prolific period in Mondrian's engagement with figurative landscape painting — an early but deeply significant stage in the artist's methodical progression from naturalistic representation to complete grid - based abstraction.

The earliest watercolors from the 1920s establish a period mood; they present the New York City that greeted a young artist when she arrived there at age 27 with a Cuban - born husband who would soon leave her and their infant, a daughter, who would soon die.

In the later drawings, however, the artist seems to move away from the more rigid grids and stripes that characterise some of the earlier drawings in this group, including T12223 — 30, and many of paintings of the same period, represented in Tate's collection by Untitled [9/68] 1968 (T12242), Untitled [8/71] 1971 (T12243) and Untitled [«72] 1972 (T12239).

Nocturnes usually include landscapes and the technique has been employed by artists from the Baroque period of the early 17th century to the present.

When Walther turned east in the 1990s an early champion of Chinese artists such as Ai Weiwei and south to Malian photographer Seydou Keïta, this period marked his departure from collecting photographers culturally akin to his German heritage.

The social network of Pan Yuliang's early career as a modernist artist and an art educator in the period of the Republic of China resonated with larger social - political movements at that time: from the cultural construct of «New Woman» and the New Culture Movement, to the revolution and reform launched by the Nationalist Party and early Communists and the rise of modern nationalism in China, and from the end of World War I to the Japanese Invasion in 1937.

Important Paintings from the Early 70's will be the first historical exhibition to focus on the artist's major works from this time period.

About the Exhibition The exhibition initially focuses on paintings from the early 1950s, the artist's first mature period, when she announced the quasi-landscape motif that she would later develop in a number of directions.

The show includes works by 14 Italian and international artists (Melanie Bonajo, Kenta Cobayashi, Tomé Duarte, Irene Fenara, Lebohang Kganye, Vendula Knopova, Leigh Ledare, Wen Ling, Ryan McGinley, Izumi Miyazaki, Joanna Piotrowska, Greg Reynolds, Antonio Rovaldi, Maurice van Es), and explores the use of photography as a personal diary over a period of time ranging from the early 2000s through today.

A feminist, activist and video and performance pioneer, Ivekovic came of age in the early 1970s during the period known as the Croatian Spring, when artists broke free from mainstream institutional settings.

The exhibition covers a period from the early 20th Century, when artists developed a dialogue with the new theories on evolution, over a number of modernists, to today's artists whose works are created in a technologically manipulated reality.

This year, 283 leading international galleries will present works ranging from the Modern period of the early 20th century to the most contemporary artists of today.

In 1974, after 12 years spent on his Hourloupe cycle (the artist's longest - running series), Dubuffet began new experiments, expanding his color palette and brushwork and revisiting techniques such as collage from earlier periods in his career.

«Monuments Should Not Be Trusted» brings together over 30 artists and groups from the «golden years» of the Socialist Federal Republic of Yugoslavia, the period between the early «60s and the mid «80s.

These works cover three periods in the history of neo-avant-garde art ranging from artists from the late forties to the early sixties (Piero Manzoni, Lucio Fontana, Martial Raysse), the American minimal art from the fifties and sixties (Carl Andre, Sol LeWitt, Dan Flavin) and the post modernism from the mid-seventies and eighties (Anselm Kiefer, Sigmar Polke, Keith Haring).

A show currently running at MoMa Ps1 focuses on Lassnig's self - portraiture, the exhibition presents works by the artist — most of them never previously exhibited in the U.S. — from all creative periods of her career, spanning her early involvement with graphic abstraction in Paris and Art Informel, to her later shift to figural representation.

The exhibition features key works from all periods of the artist's career, including seldom - seen early works and more recent large - scale installations as well as a new series of outdoor sculptures created especially for the Hayward.

This summer is the first time the artist has shown work from this early period, after omitting it from a 2009 Getty retrospective and the 1981 Whitney Biennial.

Several of the artists represented in the exhibition studied and / or worked in Spain, or were influenced by Spanish art in other ways; seeing their paintings in the context of the Meadows» collection of Spanish art, especially those works from the same period, will enable visitors to detect early European influences, and understand how many of these Mexican artists later began to forge their own artistic path distinct from their European contemporaries.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paartists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paArtists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paartists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

Each of the two, six - week Winter Workspace Sessions — spanning the period from early January through late March — includes an Open Studio day and a series of artist - led workshops for visitors to participate in hands - on art activities.

The display included work ranging from the early»70s through the early»80s — the period when the Chicago - born artist, then based in New York, found his own distinctive course.

The exhibition will include key works from 1963 to the early 1970s, encompassing a period of radical experimentation for the artist and presenting the range of variation he was able to achieve in his constructions.

From the soliloquy in his early days at Cleves to dialogue during his period as a teacher in Düsseldorf to the powerful language of his public lectures, Joseph Beuys transcends the traditional artist to become artist, teacher and revolutionary simultaneously.

A new survey exhibition of painting by Maria Lassnig, at Hauser & Wirth, spanning a period from the 1950s to the end of the artist's life opens in early March.

Drawn from the NGV Collection and the artist's own archive, this exhibition features seminal works created by Jackson from the mid-1970s to the 1990s, including a number of rare and unique early pieces which embody the dynamic period during which she definedher style.

The sculptures have been carefully selected from key periods throughout the artist's career with the earliest shown here from 1962 and the most recent from 2004.

The curator states, «Zhan Wang's solo exhibition presented at the Long Museum will chronicle the artist's prolific artistic experiments from the earlier period to the present.

Richard Pousette - Dart (1916 — 1992) created these works from the late 1950s to the early 1970s, a period of personal and professional success for the artist, but also of social unrest and unprecedented technological advances.

In this exhibition, alongside the series of «The Vanity of Small Differences» the artist's earliest work, a ceramic pot from 2002, the period during which Perry was nominated for the Turner Prize; culminating in a self - portrait, «A Map of Days,» which was completed in 2014 for a major exhibition at the National Portrait Gallery were also included.

Museum quality Modern British art is presented alongside contemporary work from today's leading artists, covering the period from the early 20th century to the present day.