Sentences with phrase «back on abstraction»

Golub turned his back on abstraction much like Philip Guston, but without a trace of Guston's self - doubt and comic - book culture.

Not exact matches

In other words we should walk away from divisive ideologies and abstractions and go back to living humbly and diversely and happily as one human family on earth with large tolerance and a divine wealth of education and human opportunity and accountability — the politics are as dead as a false god of convention.

How are you overcoming that gameplay abstraction, and if you are indeed steering clear of elements like magic, is it difficult not to be able to fall back on them?

Every time de Kooning gets stuck, he shifts back between representation and abstraction, part of his great influence on John Chamberlain.

In two of the three new bodies of work on view she creates a take on geometric abstraction that harks back to the 1960s.

The other was a college friend, back when painting meant geometric abstraction and the only Ashcan School was a mound of dirt on a gallery floor, maybe with some mirrors and torn rubber thrown in for good measure.

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

With his massive new survey opening at the Whitney Museum of Art this week — the first solo retrospective in the downtown building — the pioneer of post-painterly abstraction is looking back on an unusual project from 1968 that bridged these two mediums: a pair of coordinating needlepoint pillows with concentric - square designs.

McElheny has the performer walking along white chalk lines on the floor — minimal geometric abstraction meets catwalk — which recalls Andrea Zittel's performance Single Strand Forward Motion at the gallery back in 2009.

The abstraction climaxes on two final frames (back and front), where the sequence reaches its full realization and the rule is maximized, having gone through seventeen «moves.»

He shed effortlessly the backing of Greenberg by rejecting the theology of post-painterly abstraction, which was that the colour should lie plainly on the surface emphasising the flatness of the canvas and eschewing illusion.

Harkening back to his early days as a multi-purpose experimenter, Schneider presents several large - scale prints on canvas, collages, and an enormous multi-panel abstraction printed on self - adhesive fabric.

One can see why Philip Guston went through it before, on his way from abstraction to cartoon realism, and one can see why so many painters now are struggling to find their way back.

Academy of Fine Arts Vienna, Austria 2010 Eternal Tour festival: «From Abstraction to Activism,» Jerusalem and Ramallah, Palestine 2009 «Nostalgia Isn't What It Used To Be,» co-programmed by Brooke O'Harra and Sharon Hayes), Light Industry, Brooklyn, NY Artists on Artists Lecture Series: «Sharon Hayes on Merce Cunningham,» Dia Art Foundation, New York, NY, March 2, 2009 2008 «Nine Scripts from a Nation at War - In Conversation,» Conference with the 9 Scripts from a Nation at War artists Andrea Geyer, Sharon Hayes, Ashley Hunt, Katya Sander and David Thorne, The Courtauld Institute of Art, London, England, June 9, 2008 «Spheres of Interest,» San Francisco Art Institute, San Francisco, CA, May 2, 2008 «Looking Back Now.

One year the buzz is that Realism is coming back or fading away, that Abstraction is where the action is, or Pop art or color fields or drips and cubes, on and on.

Reengaging with the iconography of previous bodies of work, the new paintings on view mark Osborne's return back to figurative painting after a period of total abstraction — utilzing bookcases, her studio painting storage, and windows as a point of departure for further play with blocks of color within the paintings.

The austere still - life photographs of Jan Groover, who died in 2012, make the kitchen table a site of deep spatial and philosophical inquiry, closing in on utensils until they start too look like Surrealist abstractions or pulling back to reveal Morandi-esque arrangements of vessels.

When you think of art in those years, you may think first of Dada, reveling in the neutrality of Switzerland — or of František Kupka, Francis Picabia, and Wassily Kandinsky turning their back on war to invent abstraction.

And, in the adjacent gallery, Jasper Johns, now 87, is represented by over 30 years of his peripatetic late style, from «Between the Clock and the Bed» (1981), with its intimations of a figure and spreading light amid abstract hatch marks (its identically titled inspiration, by Edvard Munch, is on view at the Met Breuer) to «Regrets» (2013), a large, dark, dense work that circles back toward abstraction.

They are staggering because they move back the invention of abstraction from circa 1910, when Kandinsky was said to have set art on a new path with his first «non-representative» paintings, to 1861, when Houghton produced The Holy Trinity, a dark crisscrossing of red and blue lines up and down the paper that then go left to right, then down again in twists and spirals, and up once more in energetic slashes, a working and reworking of energy fields so layered and physical that it can accurately be described as action painting.

The modest show, organized by guest curator Jay Belloli and largely selected from holdings in the artist's foundation, includes student efforts, late paintings, a few ceramics, some wood carvings, jewelry designs, two glass vases, a Surrealist abstraction carved in low - relief on the back of an illuminated plexiglass sheet and more than a dozen prints.

★ «Supports / Surfaces» (closes on Sunday) With so much of current abstraction going back to basics, this first American survey of the relatively unknown French Supports / Surfaces group, most active in the 1970s, is a well - timed eye - opener that reveals both the strengths and pitfalls of that approach.

At Fred Giampietro, Jonathan Waters presents small abstractions painted on the backs of old nautical charts and some beautiful small sculptures crafted from solid steel.

Moving back and forth between abstraction and figuration, he has depicted geometrical forms including dots, lines, triangles, square and ellipses, and rhythms of fresh and vivid colors on the pictorial plane, and has created unique, illusionistic worlds of painting wherein each motif influences and merges into each other while preserving a descriptive quality.

Then he stepped back, glasses on, and blocked half of this multidimensional 1957 landscape with his arm to demonstrate how the right half of the canvas might almost be read as a vibrant green Mark Rothko - like abstraction.

Although individual images of her paintings aren't available, Michaela Eichwald presented two dark abstractions (one can be seen on the back wall above) and an anxious, small - scale portrait (hung above eye level) that seemed unsure, edgy, and heartfelt.

Despite the apparent abstraction of Dancers on a Plane, «figurative» subject matter was here obliquely creeping back into Johns» oeuvre.

We're tough around here, and we can take it if someone's talking behind our backs: Hilton Kramer, testy art critic for the New York Observer, came to San Francisco on «other business,» he writes, but managed to stop in at the Museum of Modern Art, where he glanced at the Gerhard Richter show (which he'd «already suffered through at MoMA in New York») and looked both at the permanent collection (early Matisses «remain, in my opinion, SFMOMA's principal aesthetic asset») and the Ellsworth Kelly exhibition («What could be more personal than the persistent, unvarying project of self - abnegation on a monumental scale that we observe in his own most ambitious abstractions?»

Elmer Bischoff: «Figurative Paintings» (closes on Saturday) During the heyday of Abstract Expressionism in the 1950s, a number of painters in San Francisco turned away from abstraction and back to representational painting, thereby founding what came to be known as Bay Area Figuration.

The body of work on display is extremely diverse and moves back and forth between abstraction and figuration, utopia and kitsch, technological fascination and amorphous materials, an accurate reflection of the enormity of Fontana's life work.

But sensed throughout his latest paintings on view in the exhibition Back There Behind the Sun at McKenzie Fine Art is the artist's contemporary interpretation of geometric abstraction reflecting the here and now.