This exhibition focuses on
the development of abstract painting and the role of both the artist and the studio space.
Joan Balzar includes a selection of works by the artist (1928 - 2016), a key figure in
the development of abstract painting on the West Coast in the 1960s.
Balzar was widely recognized as a key figure in
the development of abstract painting on the West Coast in the 1960s, a time when Vancouver emerged as a city of increased energy and experimentation in visual art.
In the 1930s, Burgoyne Diller, influenced by Mondrian, Kandinsky and other early adopters of abstract painting in Europe, played an influential role in
the development of abstract painting in America.
The exhibition shows how music inherently influenced
the development of abstract painting, but of course there exists a retroaction.
A sensibility to the landscape has also been a major factor in
the development of abstract painting, for instance in the otherwise dissimilar work of William Perehudoff and Otto Rogers.
In her quotes Krasner explains and clarifies the goals and
developments of her abstract painting art.
Marcus integrated a large number of the central
developments of abstract painting into his work over the years, including large - scale calligraphic gestures and the employment of chance - elements, particularly drip - motifs.
Not exact matches
I do not mean to say that Soutine's
painting depends for appreciation on the subsequent
development of a certain phase
of abstract art.
She is both highly conceptual and deeply emotional, combining the tenets
of the New York School with later
developments in
abstract painting.
A studio visit with the New York - based painter and drawing maker David Row, who presents his recent work, traces his
development, and reflects on
abstract painting's open - ended possibilities
of meaning.
Neel's dedication to the «unfashionable» art
of portrait
painting and social realism — and this during the decades
of abstract expressionism, pop art and minimalism — ensured that her work remained permanently out
of kilter with avant - garde artistic
developments.
But to tell it, we will have to turn away from the postmodernist obsession with the proclamation
of the End
of Painting.2 We also need to move away from the period's own «return» of painting in an abstract mode, the 1980s developments variously baptized «neo-geo» or «simulationism,» in which histories of abstraction were programmatically subjected to the strategies of appropriation or the rea
Painting.2 We also need to move away from the period's own «return»
of painting in an abstract mode, the 1980s developments variously baptized «neo-geo» or «simulationism,» in which histories of abstraction were programmatically subjected to the strategies of appropriation or the rea
painting in an
abstract mode, the 1980s
developments variously baptized «neo-geo» or «simulationism,» in which histories
of abstraction were programmatically subjected to the strategies
of appropriation or the readymade.3
Just as the Suprematist
paintings anticipate most
developments in
abstract painting throughout the rest
of the twentieth century, so these startling medleys
of words and images anticipate much
of subsequent conceptual art.
Kate Hoffman's Dream Home series, photographs taken from performative collage collaborations, has a malleable quality that emphasizes the viewer's own socio - political leanings; Samira Yamin's intricate patterns
of Islamic sacred geometries cut into TIME Magazine photos
of war oscillate between greater ambiguity and flirting with the didactic depending on the density
of the cuttings; Sandra de la Loza's photographs
of Stoner Spots underscore the politics
of leisure through the exploration
of pot - safe spaces, with a subtext
of the not - quite - yet absorbed by
development; Scott Short's «
abstract»
paintings replicate multiple generations
of photocopying through the prism
of Walter Benjamin; and Suzanne Wright will exhibit a deftly humorous Étant donnés-esque collage alongside mandala targets — each salves, in their respective forms, for our tumultuous zeitgeist.
«Functioning as a survey
of recent
developments in
abstract painting, the show spans a diverse range
of work culled from 25 New York - based artists.
With almost 40 works, this exhibition proposes a complete view
of the artist's aesthetic
development, starting with his figurative works, when he exhibited in Barcelona in the early 30's, until his latest
abstract paintings of the 90's after going through the
abstract expressionist stage that became so relevant in the United States during the 40s and 50s.
Paintings, reliefs and collages such as the cubist - influenced Beach with Starfish (1993 - 34) chart his stylistic
development from representational art through abstraction, while a display
of selected works by contemporaries including Alexander Calder and Jean Hélion helps illuminate Piper's role as a champion
of international
abstract art in Britain.
This
development offered a way out
of the dead - end that
abstract painting, like Frank Stella's, was inevitably heading to.
Each artist works in the
abstract formalist tradition, but, through the
development of new painterly vocabularies and use
of unusual materials, attempts to redefine the boundaries
of painting.
Although all
of the artists have donated works to help to support the magazine and the
development of the art school, this exhibition has been carefully considered to reflect that which is current, significant and critical in contemporary
painting, including
abstract works by Thomas Nozkowski, Mali Morris and Phil Allen, and painters who have championed a figurative approach such as Chantal Joffe, Neal Tait and Dinos Chapman.
A fascinating 1972 documentary, directed by Emile de Antonio, examines the
development of abstract expressionism through Hard Edge and Color Field
painting to Pop Art.
Always difficult to label, he has pursued a singular path that, while connecting to many
developments in
abstract painting over the last 50 years, has resulted in a body
of prints and
paintings that is both distinct and individual.
Since then she has remained at the forefront
of developments in contemporary
painting, making highly distinctive works which seek to articulate an
abstract language in which relations
of color and form generate visual sensations.
By the late 1940s his
paintings and works on paper were consistently
abstract and, in a
development shared with members
of the PLASTICIEN group, became more geometrically structured beginning in the 1950s.
With their large expanses
of intense hues that nearly fill the canvas, both
paintings anticipate the
development of her
abstract vocabulary throughout the remaining years
of the 1960s.
In this exhibition six contemporary
abstract painters — Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool — were asked to select one or two
of their recent
paintings to be shown alongside works by other artists who have had a significant impact on their thinking and the
development of their practice.
An important figure in the New York School, Paul Jenkins contributed to the
development of abstract expressionism in New York and abroad with his intuitive, chance - based approach to
painting.
There is a still - prevalent trend in
painting to discuss
abstract and minimalist composition as accomplished through a series
of logical moves — the
development of formulas and blueprints more associated with «design» than any kind
of affective reaction.
Chapter 1: Things Must be Pulverized:
Abstract Expressionism Charts the move from figurative to
abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting as the dominant style
of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded
Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting: Informel in Europe and Beyond Meanwhile in Europe:
abstract painters immediate responses to the horrors
of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative
Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The
development of a rational, universal language
of art - the opposite
of the highly emotional Informel or
Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-
Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting Part 1: After Pollock In the aftermath
of Pollock's death: the early days
of Pop, Minimalism and Conceptual
painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How
painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting survives against growth
of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation
of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-
Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting Part II: After Pop A new era in which figurative and
abstract exist side by side rather than polar opposites plus
painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use
paint to create a new kind
of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans
In the late 1960s, he transitioned from Pop - inflected figurative expressionism with the
development of his Map
Paintings, which feature
abstract fields
of colour overlaid with the stencilled outlines
of continents.
The exhibition, which will only be seen at MoMA, presents an unparalleled opportunity to study the artist's
development over nearly seven decades, beginning with his early academic works, made in Holland before he moved to the United States in 1926, and concluding with his final, sparely
abstract paintings of the late 1980s.
But his question wasn't wrong per se — it just didn't have much to do with the achievement
of his exhibition, which takes a more interesting, less expected tack: Garrels asked six
abstract painters working in the United States to «select one or two
of their own recent
paintings to be shown with works by other artists who have had a significant impact on their thinking and the
development of their own work.»
This display will also demonstrate
development of Josef's work in the years that precede the «Homage to the Square»
paintings, which had such a huge influence on
abstract painting and colour theory.
The 21st Century saw an emergence
of different art movements; as technological
development brought new opportunities, new movements have emerged, and many
of them could be described as
abstract art: digital art, computer and internet art, hard - edge
painting, geometric abstraction, appropriation, hyperrealism, photorealism — to mention a few.
Throughout the decades, these artists experimented with different materials and printmaking techniques, producing highly conceptual prints that gave a definitive nod to contemporary
developments in European and American
painting, from the
abstract aesthetics
of Wassily Kandinsky (1866 — 1944) to the expressionist drip
paintings of Jackson Pollock (1912 — 1956).
The first perhaps marked a satisfactory conclusion to the inward logic
of the monochrome and took the form
of two sculptural pieces made
of panes
of glass and
painted grey on one side, Richter's second breakthrough
of 1977 was the
development of a substantial number
of colourful
abstract works he described simply as «Abstraktes Bild».
Her
development of a grid in the late 1950s wherein she gently inscribed penciled lines over subtle fields
of color marked a turning point in the history
of abstract painting and established the geometric and spatial language that she continued to refine over the ensuing decades.
In their work we see a sustained interest in the advancement
of abstract painting, responses to the landscape connected to environmental issues, a continued engagement with surrealism and the
development of a new kind
of non-specific representational narrative
painting.
The Sam Feinstein retrospective at the Cape Cod Museum
of Art will reveal the seventy - year trajectory
of Feinstein's
development from realism through expressionism, cubist - expressionism, Hofmann - influenced abstraction to Feinstein's own unique language
of color - forms — luminous and life - enhancing — in his monumental, mature
abstract paintings.
Abstract Painting,
Abstract Art, Absolute Art - an article on history and
development of abstract art
Kenneth Noland, an influential
abstract painter who founded the Washington Color School
of painting, the only major
development in 20th - century art to originate in the District, died Jan. 5.
Kenneth Noland, an influential
abstract painter who was a founder
of the Washington Color School
of painting, the only major
development in 20th - century art to originate in the District, died Jan. 5
of kidney cancer at his home in Port Clyde, Maine.
Declaring Space includes works by four artists whose images had a dramatic effect on the complex
development of space and color in
abstract painting as it evolved in the years following World War II.
This book is available from the gallery during the exhibition, as well as Sam Cornish's, Stockwell Depot 1969 - 79 (Ridinghouse) catalogue that also features Gouk within the context
of developments in
abstract painting and sculpture at this time.
This retrospective is a timely reminder
of DeLap's role in the
development of a distinctly West Coast minimalist
abstract art in both
painting and sculpture.
In the late 1950s / early 1960s, a purely
abstract form
of Colour Field
painting appeared in works by Helen Frankenthaler and others, while in 1964, the famous art critic Clement Greenberg helped to introduce a further stylistic
development known as «Post-Painterly Abstraction».
She put these ideas into practice in the
development of what has come to be called her All Over style, an approach to
painting that covered the entire surface
of her works with
abstract motifs evocative
of nature.
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.
The exhibition traces Baumeister's professional
development from his days as an art student in Stuttgart to becoming one
of the most significant exponents
of abstract painting.