He trained
as an abstract painter with the influential Al Held at Yale University in the early 1960s, but says he left school after getting his MFA and «wanted a world without heroes and with transitions — not juxtapositions.»
Not exact matches
Twentieth - century
painters have experimented not only
with abstract forms but
with abstract substances
as well.
After obtaining a Bachelor of Fine Arts from the University of Georgia, Britt opened up shop
as an
abstract painter — a talent she discovered
with less than a year and a half left at the Lamar Dodd School of Art.
Pennsylvania, United States About Blog Taryn Day's style of painterly realism is inspired by the work of modern
painters who combine realism
with a strong emphasis on
abstract design, such
as Richard Diebenkorn, Fairfield Porter, Edwin Dickinson and Edward Hopper.
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.
As a cerebral painter, this body of work continues his interest in systems, minimalism, and Op Art from the 1960s and 70s; with the computer as a drawing tool, his images also explore contemporary graphic design, digital technology and the history of hard - edged abstract, geometric paintin
As a cerebral
painter, this body of work continues his interest in systems, minimalism, and Op Art from the 1960s and 70s;
with the computer
as a drawing tool, his images also explore contemporary graphic design, digital technology and the history of hard - edged abstract, geometric paintin
as a drawing tool, his images also explore contemporary graphic design, digital technology and the history of hard - edged
abstract, geometric painting.
Brooklyn - born
painter Walter Price stands out
as particularly impressive in this context,
with a selection of small skewed and
abstracted figure - in - landscape paintings.
Perrotin recently signed, along
with emerging talents such
as Argote, two defiantly noncommercial éminences grises — Claude Rutault and Pierre Soulages, both French
abstract painters — prompting some to speculate that he's making a transparent play for gravitas.
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.
As with other
abstract movements, these
painters emphasized color and how the work corresponds
with their own inner emotions over shape or form.
The influence of
abstract expressionism on Eggleston, partly through his friendship
with the
painter Tom Young, is addressed at points throughout the show, and it is important to recognise that perspectival lines, the balance of colour throughout a composition, and the presence of contextual details such
as logos and pavements, are
as important
as the features, dress and celebrity identity of the subjects.
Now emerging
abstract painters play
with projections and simulations
as one more medium among others.
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.
Whatever else they may or may not have in common
with the work of
abstract painters and sculptors from elsewhere, the artworks shown here were made to be exhibited
as such.
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.
As part of Joan Mitchell Foundation's ongoing collaboration
with Voices of Contemporary Art (VoCA), please join us on Thursday, October 12, when
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.
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.
As the MCA Chicago preps for its 50th birthday in 2017, Beckwith is in the beginning stages of planning a project with abstract painter Howardena Pindell, who — like the MCA, as Beckwith points out — has been working with art for 50 year
As the MCA Chicago preps for its 50th birthday in 2017, Beckwith is in the beginning stages of planning a project
with abstract painter Howardena Pindell, who — like the MCA,
as Beckwith points out — has been working with art for 50 year
as Beckwith points out — has been working
with art for 50 years.
But most of all, he filled the place
with images of himself,
as stoical lighthouse keeper, 1960s
abstract painter, a camera - shop owner, and passer - by on the street.
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.
Placed against a neutral backdrop
with their labels inscribed below, Wylie's hard - won forms play on the language of ancient art
as well
as modernism and the
abstract compositions of
painters like Franz Kline and Ad Reinhardt, who attempted to divorce image - making from even the most fundamental visual associations.
While the movement is closely associated
with painting, and
painters such
as Arshile Gorky, Franz Kline, Clyfford Still, Hans Hofmann, Willem de Kooning, Jackson Pollock, and others, collagist Anne Ryan and certain sculptors in particular were also integral to
abstract expressionism.
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 Smit
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 Smit
as Pat Adams, Helen Frankenthaler, Ruth Ann Fredenthal, Vincent Longo, Ken Noland, Jules Olitski, Larry Poons, David Smith, and Tony Smith.
Although Ms. Buchanan came to art
as a second career, after a decade
as a public health educator in East Orange, N.J., she sought out professional instruction and made many insider connections, taking classes
with the
abstract painter and activist Norman Lewis at the Art Students League of New York and finding another mentor in Lewis's friend Romare Bearden.
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
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.
As with many
abstract painters of the 1940's and 1950's, think Rothko and his Subway Series, the path to abstraction for Richard Diebenkorn lay in taking familiar objects and views and finding new ways of interpreting them.
Amid the leaden self - importance of the
abstract expressionist generation of
painters, Baldessari played the ingenue, seeing what would happen,
as he puts it, if he took art at its word: «If it really was all about communication, why not really try to communicate,
with things that everyone could understand?
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.
In fact, Rauschenberg and Johns belong to
abstract expressionism (
with Jim Dine a variation on their themes), Rosenquist is a billboard Surrealist who marries Magritte's paint handling to collage space, and Lichtenstein is a hard - edge
painter, whose two - dimensional surface patterns and crisp outlines derive
as much from Kelly
as from comic strips.
He felt he'd exhausted the means that had unlocked him
as an
abstract painter, and he was bored and disgusted
with the skills that had gained him renown.
As a college DJ, I hung out
with an
abstract painter, and when I met his friends and mentor, my native shyness only grew.
A long - term dialogue
with Japanese
painter Kenzo Okada also guided her practice and bolstered her interest in Zen Buddhism,
as well
as her intuitive approach to
abstract painting.
At Mitchell - Innes & Nash, meanwhile, Ferris continues to stake out her position
as one of today's finest
abstract painter with ever larger, ever more exuberantly colored pieces, where shifting blurs compete
with crisp, thick pointillist passages.
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.
He began
as an
abstract painter, though a visit to an exhibition of Andrew Wyeth's work at Buffalo, New York, in 1962 confirmed his disenchantment
with abstraction.
He began his career
as a
painter, drawing on the work of the
abstract Expressionists, but
as time went on he became increasingly dissatisfied
with painting, a medium that he came to believe was a thing of the past.
William Klein, Gun 1, New York, 1954 Klein had originally studied painting in Paris
with Fernand Léger, enjoying some early success in Europe
as an
abstract painter before switching to photography.
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.
Freilicher started out
as an
abstract painter after studying
with Hans Hofmann in the late 1940s, but turned somewhat abruptly to representational painting, Russeth wrote for ARTnews, after seeing the Museum of Modern Art's 1948 Bonnard retrospective.
LY: I started
as an
abstract painter,
as big
as I could make complete
with palette knives and buckets of paint from Utrecht.
After beginning
as a figurative
painter with socio - political themes, he won an international reputation
as an
abstract artist.
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.
He gains a sense of inherent classicism and security from using familiar symbols, yet only
with unceasing concentration and focus can a
painter's style be used
as a tool to give form to
abstract reflection, and that still requiring a callous inhibition of ever ‐ present, hovering uncertainty.
On the other hand, both parts of Black in the
Abstract make it perfectly clear that, on the whole, the quality of the work being produced by black artists whose practices include abstraction —
as the inclusion of Hammons, McMillian and Donnett indicate, not everyone here is an «
abstract painter» — does not suffer in comparison
with that of their colleagues of other backgrounds, including major figures like Amy Sillman and Charline von Heyl, both of whom have work in Arning's Painting: A Love Story.
I enjoyed my encounters
with Terry Winters,
with his dense lines and fields of primary color, and the ever - serious
abstract painter Thomas N.,
as I shall leave the spelling for my own protection.
But among the things they had in common was a rejection of the gestural painting favoured by the
abstract expressionists and other
abstract painters, and the personal agonising associated
with Auerbach, Bacon and what would come to be known
as the School of London.
As an
abstract painter, he necessarily worked
with pre-existing artistic language, one that had been forged in experiment, failure, and self - doubt.
One of the pioneers of the West Coast «Light and Space» movement, Irwin started out
as an
abstract painter but is now known for his architectural interventions made
with translucent scrims, light tubes, and natural light (one of which, Excursus: Homage to the Square ³, is currently on view at Dia: Beacon).