Sentences with phrase «back at the abstract paintings»

When you Look back at the abstract paintings you can start to decipher some of the cryptic messages in the work.

Not exact matches

Instead, he stared at her back as if it was an abstract painting.

These successes launched Hoptman back to MoMA in 2010 as curator of contemporary art in its painting and sculpture department, and since then her landmark show has been «The Forever Now: Contemporary Painting in an Atemporal World,» the 2014 conversation - starter billed as the first contemporary painting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previopainting and sculpture department, and since then her landmark show has been «The Forever Now: Contemporary Painting in an Atemporal World,» the 2014 conversation - starter billed as the first contemporary painting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previoPainting in an Atemporal World,» the 2014 conversation - starter billed as the first contemporary painting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previopainting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previous eras.

For Australian abstract painters to look back at this moment, and compare it to their own, could prove quite beneficial, and force a complete reversal of what we are always taught, that Blue Poles and other paintings like it signify the end of the line for painting, the last port of call before the inevitable disembodiment into performance and conceptual art.

The fact that Rauschenberg increasingly is pulling back from this is indicated not only in his latest works, but also, programmatically, in the painting he recently sent to the exhibition of abstract expressionism at the Guggenheim Museum: an arrow marks an exit from the forms of gestures and the painting is entitled «Blue Exit.»

In MoMA, NY # 5 (2014), Tierney again depicts the back of a young man, this time in a MoMA gallery looking at a large abstract painting that stretches beyond the frame of Tierney's canvas.

The Los Angeles artist's «Designer» photographs of shop windows, taken with a cheap hand - held camera and then blown up to a just barely decipherable resolution, at once evoke 20th - century abstract painting and the photographic tradition of shop windows as subject matter that goes back to Eugene Atget and Brassaï.

Gechtoff's painting Angel (1960), a vaguely female form (the artist says it's a self - portrait) in a crucifixionlike pose, energetically composed of shards of bright hues, dominantly pink and sky blue, lit the front room at Nolan; in the back was a large (61 - by -40-inch), radically abstract Gechtoff drawing from 1956 — 57 in which an entity made of long graphite strokes appears to traverse the otherwise empty page.

The painting's composition appears abstract at first; it takes a second to register that the fingerprinted white column depicts the back of a canvas leaned against a wall.

Additionally, even when he was inspired by Chinese art, notably by a trip he made to China in 1987, and became more gestural and intuitive in his application of paint, he did not accept one of the longstanding, underlying assumptions of New York - based abstraction, dating back at least to Frank Stella, which was the widely accepted belief that abstract painting could be both objective and immediately accessible.

According to the New York Times, Soderbergh's painting style most closely resembles abstract minimalist Agnes Martin, but he has given himself the caveat that «I'll be the first person to say if I can't be any good at it and run out of money I'll be back making another Ocean's movie.»

In the San Francisco Chronicle Kenneth Baker suggests that the Jules Olitski show at Hackett Mill demonstrates how tame and dated some abstract paintings, which were considered radical back in the day, appear today.

The other side, the back of the panel which reveals the stretcher bar construct, is painted with abstract compositions that hint at larger concerns with arrows signifying time, a question mark and text reading «life.»