Sentences with phrase «black abstract artists as»

The Studio Museum has also presented black abstract artists as a vital tradition, as well as black conceptual art.

When he landed in New York, in 1976, Little was taken under the wing of the older artist Al Loving, who drew him into the circle of such black abstract artists as William T. Williams, Jack Whitten, Mel Edwards, Fred Eversley, and Bill Hutson.

Not exact matches

As their hometown metastasized and Brasília started to rise, São Paulo artists such as Geraldo de Barros and Luiz Sacilotto painted totally abstract compositions — spiraling curlicues in the former's case, cascading black - and - white stripes in the latter's — that aimed to give form to the utopian dreams of a new BraziAs their hometown metastasized and Brasília started to rise, São Paulo artists such as Geraldo de Barros and Luiz Sacilotto painted totally abstract compositions — spiraling curlicues in the former's case, cascading black - and - white stripes in the latter's — that aimed to give form to the utopian dreams of a new Brazias Geraldo de Barros and Luiz Sacilotto painted totally abstract compositions — spiraling curlicues in the former's case, cascading black - and - white stripes in the latter's — that aimed to give form to the utopian dreams of a new Brazil.

From Norman Lewis to Joe Overstreet, the Harlem Renaissance — derived tradition of African - American abstract painting (which has historically had a primarily black audience) is intermingled with the tradition of so - called self - taught or outsider artists such as Bill Traylor and Bessie Harvey (whose audience has been mostly in the rural south and mostly black); the more recent wave of African - American conceptualism represented by Adrian Piper, Lorna Simpson, and others (whose work

Nor does she challenge the mythic great white male artist on his own terms, as might black abstract artists or Gary Simmons.

In Hog on Ice, Pinks, and Creamed Onions (1989), John Chamberlain uses black and white lucite relief to form varying lines in abstract forms, evoking the linear patterns that appear as a result of manipulation and exposure in the artist's crushed automobile sculptures.

While certainly all of the leading artists who were part of the abstract expressionist movement were involved with color at various points in their career, many of the important masterworks of the movement — such as those by Jackson Pollock, Franz Kline, Robert Motherwell, and key series by Willem de Kooning and Barnett Newman — are notable for their lack of strong color in favor of black and white.

Magnetic Fields: Expanding American Abstraction, 1960s to Today places abstract works by multiple generations of black women artists in context with one another — and within the larger history of abstract art — for the first time, revealing the artists» role as under - recognized leaders in abstraction.

The term may even comprise such abstract artists as Don Voisine, Pete Schulte, Cary Smith, Mary Bauermeister, and Nathlie Provosty, if not Jim Shaw and his «Thrift Store Paintings» or Archibald Motley and black southern art as a whole.

Joyner, a former Wall Street executive turned arts patron, is currently touring works from her and her husband Alfred Giuffrida's collection of nearly 400 works by black abstract artists including Sam Gilliam, Melvin Edwards, Mark Bradford, Shinique Smith, and Kevin Beasley, with an aim «to rewrite art history,» as Joyner described it in a recent interview.

An investigation of two 1971 exhibitions — Contemporary Black Artists in America at the old Whitney, and The DeLuxe Show, an abstract art show in a Houston movie theater — English's book «looks at many black artists» desire to gain freedom from overt racial representation, as well as their efforts — and those of their advocates — to further that aim through public exhibitiBlack Artists in America at the old Whitney, and The DeLuxe Show, an abstract art show in a Houston movie theater — English's book «looks at many black artists» desire to gain freedom from overt racial representation, as well as their efforts — and those of their advocates — to further that aim through public exhibiArtists in America at the old Whitney, and The DeLuxe Show, an abstract art show in a Houston movie theater — English's book «looks at many black artists» desire to gain freedom from overt racial representation, as well as their efforts — and those of their advocates — to further that aim through public exhibitiblack artists» desire to gain freedom from overt racial representation, as well as their efforts — and those of their advocates — to further that aim through public exhibiartists» desire to gain freedom from overt racial representation, as well as their efforts — and those of their advocates — to further that aim through public exhibition...

The Brooklyn - based artist's process for making her black - and - white films involves shooting imagery on Super-8 and 16 mm film — as well as digital and mobile phone platforms — which she then manipulates and projects onto paintings before finally screening and reshooting works to abstract ends.

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.

Mangold's woodcuts premiering for the first time are also presented in conversation with works such as Movement in White, Umber, and Cobalt Green (1950) by early American modernist John Marin (1870 — 1953), known for his abstract landscapes, and with Duet and Murmur (2014), New York — based contemporary artist Cheonae Kim's (1952 ---RRB- paintings from her linear black - and - white series.

Black Mirror refers as well to Claude Glass, small mirrors used by artists that abstract and distort the reflected subject.

Although Josef Albers» influence on color theory is pervasive, CMYK reveals that artists continue to experiment and explore the infinite possibilities of mixing pigments based on cyan, magenta, yellow and black (K), illustrating that the future for abstract painting is as vast as its past.

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.

It also came just as the organizer of Radical Presence, Contemporary Arts Museum Houston senior curator Valerie Cassel Oliver, was preparing to open the first installment of Black in the Abstract, a two - part exploration of abstract painting by black artists, as part of CAMH's six - exhibition, two - installment abstraction extravaganza, Outside the LBlack in the Abstract, a two - part exploration of abstract painting by black artists, as part of CAMH's six - exhibition, two - installment abstraction extravaganza, Outside the Lblack artists, as part of CAMH's six - exhibition, two - installment abstraction extravaganza, Outside the Lines.

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 SBlack 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 Sblack 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.

Golden calls her show «post-black art,» and she has a museum that can even present black abstract artists, a black artist collective of the 1960s, or black conceptual art as a lost tradition.

[15] Despite this, Thomas was still discriminated against as a black female artist and was critiqued for her abstract style as opposed to other Black Americans who worked with figuration and symbolism to fight oppresblack female artist and was critiqued for her abstract style as opposed to other Black Americans who worked with figuration and symbolism to fight oppresBlack Americans who worked with figuration and symbolism to fight oppression.

Here the focus is on figurative works by Smith, Chingerey, Haynes, and Barney, as well as a startling series of photographs by Jackie Black and abstract sculpture by Marianne Weil — both artists selected by Tony Oursler who was unavailable for an interview.

The work of these artists — decidedly abstract and expressionistic yet at times referential to Africa, black America, and to the evolving civil rights struggle — necessitated an altogether different definition of what was then described as modern Negro art.

Furthermore, to routinely omit artists such as Norman Lewis, who participated in the famous closed - door Studio 35 sessions defining abstract expressionism, is to disregard abstraction's debt not only to black culture, but to the artists who shaped its contours and analyzed its place in art history and theory.

By resisting being labeled as a black woman artist, Thomas received criticism for «her abstract style as opposed to other Black Americans who worked with figuration and symbolism to fight oppression.&rblack woman artist, Thomas received criticism for «her abstract style as opposed to other Black Americans who worked with figuration and symbolism to fight oppression.&rBlack Americans who worked with figuration and symbolism to fight oppression.»

As an African - American artist caught in the maelstrom of the civil rights movement, Sam Gilliam received fierce criticism because his abstract paintings did not address black culture.

Black, White, and Gray by Anni Albers (1899 - 1994) 1950, pictorial weaving adapted as a wool rug Gifts of The Josef and Anni Albers Foundation, in honor of Barack and Michelle Obama A pioneering abstract artist, Anni Albers was best known for her work in textiles.

For over four decades, Whitten utilized the tesserae to develop his Black Monoliths, a series of abstracted tributes to Black artists, musicians, and public figures such as Ralph Ellison, Chuck Berry, and W.E.B. Du Bois.

In previous projects Bajo has invited performing artists to engage with a simple square of black fabric as a gesture of anarchist resistance to social control; commissioned weavers from India to reinterpret an abstract image derived from a highly pixilated portrait of anarchist godmother Emma Goldman; and translated anarchist manifestos into musical notation which was then performed by a string quartet and accompanied by an improvised choreography.

In light of recent controversies over the use or absence of Black bodies in relation to abstract painting (most notably the controversy of the Dana Schutz painting at New York's Whitney museum), and the ahistorical suspicion of abstraction as a form of practice that manifest in some of the discourse, it is important that Black artists» role as innovators in the field of abstraction is given due significance here through the works of Whitten, Bowling, and others.

In addition to those Vorticist members mentioned above, certain other artists were closely associated with the movement including the much underrated painter David Bomberg (1890 - 1957), the US - born sculptor Jacob Epstein (1880 - 1959), who settled in Londin in 1905, and the American - born British photographer Alvin Langdon Coburn (1882 - 1966) noted for his avant - garde black - and - white abstract photographs, known as Vortographs.

Edward Clark's abstract expressionist tondo The Big Egg (1968) establishes the artist among the earliest American painters to experiment with oval forms (later explored by artists like Jasper Johns), while works by the 1970s black artist collective AfriCOBRA — who operated loosely as the visual arts arm of the Black Arts Movement, and whose influence can be found in the work of Kerry James Marshall and David Hammons — are given prominblack artist collective AfriCOBRA — who operated loosely as the visual arts arm of the Black Arts Movement, and whose influence can be found in the work of Kerry James Marshall and David Hammons — are given prominBlack Arts Movement, and whose influence can be found in the work of Kerry James Marshall and David Hammons — are given prominence.

The first part contains 20 black - and - white reproductions of photocopies, which the artist uses often as a preliminary stage to her abstract works on paper and canvas.

Donald Sultan is one of the leading American contemporary still life artists, known for his large — scale, «catastrophic - event» paintings that incorporate nontraditional materials such as Dead Plant, November 1, 1988, as well as his sensuous charcoal drawings of iconic presentations and abstract depictions of fruit such as Black Lemons, May 20, 1985, both in the Modern's collection.

Crossings features three gloss black «Level Crossing» signs on a matt black triangular canvas, as much recalling the «Give Way» sign as it does also the shaped canvases of late Modernist abstract paintings by artists such as Kenneth Noland or Frank Stella.

Organized by LACMA, Fine Arts Museums of San Francisco, and the Cincinnati Art Museum, this exhibition is Pousette - Dart's largest in a museum on the West Coast and will showcase the artist's transcendental mysticism in fifty drawings from 1940 to 1992, representing his progression through as many styles — from the totemic, which marked his early years, to the abstract black - and - white of his later works — as there were decades of production.

Wabi Sabi 51 A & 51 grouping by artist Silvia Poloto is a white, grey, black, cream, and red contemporary abstract mixed media on panel that measures 96 x 85 as a grouping or 96 x 40...

Gorgeous abstract expressionist black woman posing with the Sun as an abstract background by listed California artist Molly E. Brubaker (American, 1922 - 2000).

Karla Black is a Scottish artist who creates abstract, immersive sculptures that explore physical experience as a way of communicating and understanding the world around us.

Through «listening as a conceptual practice,» Jones renders visible these abstract black artists left out of the aesthetic sphere.

As an artist critically aware of her role in the art world as an African - American woman, Jones calls upon her training and her identity to construct a revisionist history, one which acknowledges abstract work by black artists left out of art history's Modernist canoAs an artist critically aware of her role in the art world as an African - American woman, Jones calls upon her training and her identity to construct a revisionist history, one which acknowledges abstract work by black artists left out of art history's Modernist canoas an African - American woman, Jones calls upon her training and her identity to construct a revisionist history, one which acknowledges abstract work by black artists left out of art history's Modernist canon.

Other important contributors to action painting include: Mark Tobey noted for his White Writing style of calligraphic gesturalism; Franz Kline, an artist whose works include colour field compositions as well as vigorous gestural work, sometimes compared to gigantically enlarged fragments of Chinese calligraphy); Robert Motherwell (in his series entitled Elegy to the Spanish Republic, and his powerful black and white paintings); Cy Twombly (in his gestural works based on calligraphic, linear symbols) and Adolph Gottlieb (noted for his abstract surrealist series including Pictographs, Imaginary Landscapes and Bursts).

As it happens, along with Steir, Chelsea was showing two other abstract artists from the recent past often derided as decorative and illustrative, and one even willingly fades to blacAs it happens, along with Steir, Chelsea was showing two other abstract artists from the recent past often derided as decorative and illustrative, and one even willingly fades to blacas decorative and illustrative, and one even willingly fades to black.

Spanning the emergence of Black feminism, debates over the possibility of a unique Black aesthetic in photography, and including activist posters as well as purely abstract works, the exhibition asks how the concept of Black Art was promoted, contested and sometimes flatly rejected by artists across the United States.

The international and intergenerational group of artists and their works allow us a glimpse into the art history of black color and emphasize the long tradition of abstract art as well but also provide for us a glimpse into new trends of contemporary art, since over a third of the featured works are newly created.