Sentences with phrase «careers of abstract artists»

Marc Straus, Founder and Owner of the Lower East Side gallery, said, «Too often the careers of abstract artists are abbreviated.

Not exact matches

The crowded installation of huge abstract paintings, reliefs, sculptures, and painting - sculpture hybrids, augmented by works on paper, tracks the New York artist's fifty - seven - year career.

If Little's career has been an extended effort to uphold the tenets and viewpoints of earlier abstract artists, it has also been an embrace of their fatherly leadership.

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.

Although a critical force within the group, the artist's contributions to Memphis — in the form of graphic patterns — were only a small segment of her career; as the ICA show makes clear, Du Pasquier is a multifaceted artist, and she became particularly interested in abstract and figurative painting.

JMcK: The teaching of drawing has occupied an important place in your career as an artist specifically teaching life drawing at a time when abstract art and conceptual forms of art were in the ascendancy.

However, the image's conceptual origins go back to the beginning of his career as an artist, with an abstract sculpture that he called the Rhythms of Life, a theme that has obsessed him ever since.

This selection of early paintings documents a conceptual shift in the artist's work as the landscape imagery offered by earlier paintings begins to incorporate and is consumed by the symbol - laden abstract compositions that would become a recurring theme throughout his career.

Hoyland (1934 — 2011) is one of Britain's most renowned abstract artists and this sensitively curated show covers works produced between 1964 and 1982, a key period in the artist's career that saw variation and experimentation in the creative process and visual impact of his work.

I was reminded of one of my favorite abstract painters, the Californian John McLaughlin, who was born in 1898 and whose career as an artist also began when he was 50.

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.

Bearden was an African - American artist whose career in New York spanned a tumultuous and exciting mid-century moment that saw the emergence of the abstract expressionism movement.

In Tworkov's drawings there is conflict — a push and pull — whether it is his more familiar gestural abstract charcoal drawings from the 1950s or the mathematically generated geometric works of the artist's later career.

The most remarkable thing about his career is how clearly it divides into three distinct phases: he started as an abstract artist in the late 1940s and early «50s, was enormously celebrated even in his twenties, and at the height of his success he then moved into figuration in 1955 following a move to Berkeley, California.

The career - launching Sixteen American Artists placed a nail in the coffin of abstract expressionism, and Stella in the canon of minimalism — a generations - bending movement sprung from his mantra: «You See What You See.»

It focuses on the radical change of direction in the artist's career between 1930 — 1969, 50 key paintings and sculptural reliefs show how Pasmore reinvented himself as one of Britain's foremost exponents of British abstract art, having previously been known as one of its leading figurative artists.

This second display starts with an ink and pencil drawing Erotic Composition (1967 - 70), by Lebanese artist Huguette Caland which is a study for the abstract, sensual paintings of the body that she created later on in her career.

The market for Lucio Fontana, the prolific Argentine artist who spent the most important part of his career in Italy, peaked last year during the October Italian sales when 26 works were offered and 21 sold for a combined total of # 36.6 m. With a large body of work — the slashes — that is both easily recognizable and was created in a seemingly endless variation of color and slashes, Fontana looked to be riding a wave of interest in Italian abstract artists to become a market - driving figure, a bellwether of the global Contemporary art market.

Landscape painters from the 19th century, modern abstract artists and conceptual artists from the 1960's — all of them, at some point of their careers, somehow touched upon this complicated topic.

Yong - Ik, younger than the core Dansaekhwa artists, began his career making abstract work, but moved away from what he saw as a sort of amorality linked with abstraction in the 1980s, after a political awakening, he said.

Henri Matisse painting Bathers by a River, May 13, 1913 Photograph by Alvin Langdon Coburn Courtesy of George Eastman House, International Museum of Photography and Film, Rochester July 18 — October 11, 2010 In the time between Henri Matisse's (1869 — 1954) return from Morocco in 1913 and his departure for Nice in 1917, the artist produced some of the most demanding, experimental, and enigmatic works of his career — paintings that are abstracted and rigorously purged of descriptive -LSB-...]

«Von Allen began his four - decade career as an abstract expressionist artist in the 1970s,» she wrote, noting that he «established a deeply personal style in abstract form and symbolic themes, creating unusual textures in his works with dynamic fields of color and turbulent styles.»

Each of the vibrantly colored abstract paintings in the exhibition measures 16 x 20 inches — a common canvas size that the artist has used extensively throughout his career.

Throughout his career, artist Robert Mangold has married drawing and painting in a personal investigation of pure abstract form and color.

Painted at the apex of her New York career before she expatriated to France in 1959, Untitled is an ebullient example of the artist's marriage of natural forms, abstract gestures, and urban movement.

Bridging Upper East Side and Chelsea locations of Mitchell - Innes & Nash with Caro's arresting abstract sculptures, First Drawings Last Sculptures offers a trajectory of the artist's six - decade - long career as an innovative sculptor.

This selection of works spans the artist's career to date and will highlight his principle contributions to sculpture: engagement with form in space, dialogue between sculpture and architecture, and the creation of abstract analogies for the human figure and landscape.

This groundbreaking exhibition looks at the arc of this African American artist's career through the presentation of paintings, video art and works on paper that celebrate her singular vision and its imprint upon abstract painting and conceptual art since the 1960s.

He emerged on the New York art scene at the time that Abstract Expressionism was dominant, and through the course of his career he challenged abstract painting and the model of the heroic, self - expressive artist championed in the 1950's.

With Rothko an influence, Morico spent years painting abstract expressionist paintings after graduating in 1994 from Paier College of Art in Hamden while pursuing a career as a graphic artist, including on a freelance basis the past 10 years.

Sam Francis's untitled monotype composition signals the culmination of the artist's career - long investigation of abstract painterly procedures: the aggressively stroked red field and chance application of colorful drips and blots energize the surface of this broad horizontal frame, synthesizing the dynamism of Jackson Pollock's drip paintings and the powerfully reductive aesthetics of Color Field painting of the 1940s and 50s.

The exhibitions, organized by the gallery's chief curator emeritus Douglas Dreishpoon, trace the careers of two important artists who worked in the aftermath of abstract expressionism and played key roles in fostering future movements: Helen Frankenthaler and Paul Feeley.

Owing to his studies in the West, Chun was deeply influenced by American and European abstract expressionism, the early stages of his career saw the artist working with paintings until his shift to Korean mulberry paper in 1995.

Feng Lianghong discovered his penchant for abstract painting early in his career in the 1980s where he was part of a group of artists who pioneered abstract art in Shanghai.

Presented across the two floors of the Old Bond Street gallery, two main strands of the artist's career will be referenced: the Roman School of Painting (1930s), and the abstract period (1940s - 1950s).

Towards the end of his career, Christou's compositions became informed by his concept of the «continuum», an abstract entity that was occurring, ever - evolving, and was open to all that wanted to enter (a testament to this: Christou's composition was also performed by all of the documenta 14 artists at the opening press conference).

The Swiss artist Paul Klee also responded to this challenge: the almost 10,000 works he created in the course of his career include exciting examples of the development of abstract pictorial worlds and of the processes of abstraction in painting.

Now in his 80s; Morley's life has been an interesting one — which has included prison; with a three year stint in Wormwood Scrubs prison, after having been homeless for a time and becoming a petty thief, a period of psychoanalysis, and five marriages — the artist has not been particularly troubled by the notion of a status quo, but has shown a great diversity in his career seeing Morley associated with the Euston Road school of painting via Cézanne, abstraction, abstract expressionism, neo — expressionism and post-pop art.

Edwards has been a father figure, particularly to African - American artists such as Atlanta sculptor Curtis Patterson, both in his fusion of sources into abstract imagery and in the way he has conducted his career.

Gesture: Judith Godwin and Abstract Expressionism, on view at the Virginia Museum of Fine Arts September 7 — January 26, 2013, features a selection of 15 works that span the artist's career and demonstrate her remarkably persistent commitment to establishing and expanding her own abstract language.

The reference to mythology as a source of inspiration; using abstract composition as a way to evoke literary and lyrical stories; the control of the design so as to achieve a delicate balance between the freshness of gestural strokes and the clearness of drawing; the reference to the tradition of art history as an endless process of acknowledgment of the meaning of artistic practice; the attention paid to the sign itself as a multi-linguistic mark of the artist's expression; these are all constant features of Twombly's work, and have been since the very beginning of his career in the late 1940s.

The 78 - year - old painter and printmaker combined minimalism with abstract expressionism in his pieces over the course of his career, making the artist a legend in his own right.

From the hyperreal to the purely abstract, from printmaking to sculpture, this high - profile exhibition celebrates contemporary artists at all stages of their career, from emerging talent to esteemed Royal Academicians, and from all corners of the North of England.

Still's mature style, marked by purely abstract form and monumental scale, was achieved early in his career and years before his contemporaries, causing the artist to be widely considered as one of abstract expressionism's first innovators.

He started his career as a practising artist in the late 1950s, producing a series of unspectacular abstract paintings.

This comprehensive exhibition, the first full - career survey of the artist's work, brings together more than 130 paintings made between 1949 and the mid-1990s, from the voracious experimentation of Hantaï's early years in Paris through the justly renowned abstract canvases he began producing in 1960 in the medium he called pliage, or «folding.»

Early in his career, Gottlieb became a founding member of «The Ten,» a group of artists devoted to expressionist and abstract painting, and began friendships with Milton Avery, Barnet Newman and David Smith.

Foremost among the generation of British artists who «rediscovered» abstraction during the 1940s, the Martins studied painting at the Royal College of Art, where they met, and worked as designers early in their careers before producing their first abstract paintings.

The installation will include a selection of sculpture in steel, painted and unpainted, spanning the artist's career to date and highlighting principal aspects of his long career: engagement with form in space, dialogue between sculpture and architecture, and creation of new, abstract analogies for the human figure and landscape.

In 1959, he painted Tomlinson Park, part of the Black Paintings series that catapulted his career when he was just 23 years old and influenced other artists of his generation to move away from abstract expressionism and create work that was more painterly, more thoughtful and more experimental in terms of the use of space in and around the canvas.