Sentences with phrase «earlier generations of artists»

Scholarly writers look back to how earlier generations of artists employed materials and how this differs from so many contemporary artists» material engagements today.

At the same time, the work makes clear his commitment to painting as completely contemporary, even as he references earlier generations of artists.

Works by the earlier generation of artists represented in the show can be loosely situated within geometric abstraction and abstract constructivism, influenced by artists such as Piet Mondrian (1872 — 1944) and groups such as De Stijl (founded 1917) and the ZERO movement of the 1950s and 60s, as well as the American Colour Field painters.

The exhibition aims to contrast an earlier generation of artists who use shock in their work with a younger generation of contemporary artists who use shock to different ends.

Where an early generation of artists had portrayed the romantic lure of the American Southwest during the nineteenth - century using European Academic painting traditions to represent the environment and inhabitants of the region as exotic, Modern artists took a very different approach.

While indebted to the appropriation strategies of an earlier generation of artists, these works also anticipated the contemporary experience of images in which context is the only content.

Not afraid to gather inspiration from sources such as Brazilian folk arts and decoration, Milhazes embraces these «low» art influences and balances them with the high - minded modernism that was brought to Latin America by an earlier generation of artists such Helio Oticica and Tarsila do Amaral.

It has also recognized the work of an earlier generation of artists, like Victoria Cabezas from Costa Rica.

Not exact matches

His arrival with films like The Living End and The Doom Generation signalled a voice synonymous with the New Queer Cinema movement of the early 1990s that saw gay stories told by gay artists.

Since those early years of the formal establishment of Sundance Institute, four generations of Native and Indigenous artists have been supported.

Younger than this generation, all of whom were born in the early 1930s, and were undoubtedly affected by the horrors of World War II, Farrell shares something with the reductive impulses that are central to Minimalist artists such as Robert Ryman, Brice Marden and, to a lesser degree the Radical Painting of Marcia Hafif.

«Coming To Power» pays homage to the first generation of women artists who pioneered a new artistic genre in the mid 60s and early 70s using explicit sexual imagery.

Although known for his early championing of the Abstract Expressionists, he befriended a younger generation of artists that reacted against the rhetoric of gestural abstraction, the leading style of Tenth Street.

While early practitioners such as Robert Mangold embraced a minimal sensibility, the next generation of artists such as Elizabeth Murray and Ralph Humphrey further evolved the practice; Murray's canvases are explosive and energetic, and Humphrey's paintings are tactile, with thick and textured surfaces.

During the early to mid-1960s Color Field painting was the term for the work of artists like Anne Truitt, John McLaughlin, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Friedel Dzubas, Jack Bush, Howard Mehring, Gene Davis, Mary Pinchot Meyer, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Robert Goodnough, Ray Parker, Al Held, Emerson Woelffer, David Simpson, and others whose works were formerly related to second generation abstract expressionism; and also to younger artists like Larry Poons, Ronald Davis, Larry Zox, John Hoyland, Walter Darby Bannard and Frank Stella.

Through words in art, flirtations with ideas unauthorized by then - dominant socio - political realities were allowed expression, especially among an early generation of LGBTQ artists.

Phyllida Barlow is a British artist who came of age in the wake of the «New Generation» of British sculptors of the early 1960s.

Spring Fellow Nicol Mocchi visits «Munch and Expressionism», an exhibition at The Neue Galerie that explores the mutual influence and intense dialogue between Edvard Munch (1863 - 1944) and the generation of German - Austrian artists from the early 20th century.

The legacy of these women is conveyed through a section of the exhibition that presents works by contemporary female artists and designers that reflect and expand upon the work of the earlier generation.

In the meantime however, not only the art market — one of her early works was recently sold as the most expensive work ever by a woman artist — but also and above all a young generation of artists have rediscovered Joan Mitchell and her art.

Willamson has been described by Robert Storr, former director of the Museum of Modern Art in New York as «one of the foremost artists of her generation», and her early series A Few South Africans, acquired by the Tate Modern, London last year, is currently on display on Citizens and State.

In groundbreaking works from the 1970s like Mary Kelly's Post-Partum Document (1973 — 79) and Martha Rosler's Semiotics of the Kitchen (1975), the tenets of conceptual art — with its integration of language and image, its embrace of photography and the video camera, and its unfolding over time and space — are enmeshed with questions of subjectivity, the body, and indeed, emotional affect, subjects generally avoided by an earlier generation of conceptual artists.

His early works were inspired by the Abstract Expressionists he encountered in New York, Stella later commenting: «I wouldn't have bothered becoming an artist if I didn't like the artists of that generation so much.»

They will be presented alongside artists of earlier generations including Ida Applebroog, Mary Beth Edelson, Robert Gober, Paul McCarthy, and Cindy Sherman who produced some of their most powerful works in 1993.

Strategies that emerged earlier in the circles of the surrealists and New Vision photographers — the untutored «photographic mistake,» photography as a form of literary pointing — adopted by the artists in this exhibition have subsequently been absorbed by the contemporary generation using photography as conceptual art, from Gabriel Orozco to Hank Willis Thomas.

At the gallery's 293 Tenth Avenue location, «Robert Motherwell: Early Paintings» examines the lesser - known, experimental abstractions of the artist's pre - «Elegy» years.1 Around the corner at Kasmin's 515 West Twenty - seventh Street venue, «Caro & Olitski: 1965 — 1968, Painted Sculptures and the Bennington Sprays» looks to the personal friendship and creative dialogue between sculptor and painter.2 And finally, up the block at the gallery's 297 Tenth Avenue address, in «The Enormity of the Possible,» the independent curator Priscilla Vail Caldwell brings the first generation of American modernists together with some of the later Abstract Expressionists — Milton Avery, Oscar Bluemner, Charles Burchfield, Stuart Davis, John Marin, Elie Nadelman, and Helen Torr, among others, with Lee Krasner, Jackson Pollock, and Mark Rothko.3

Innerst broke onto the New York art scene in the early 1980s with exquisitely executed small - scale paintings with hand - made frames, and his works were considered part of the Pictures Generation of artists who employed widely varied images as source material culled from the expanding media of the pre-digital age.

Sarah Lucas rose to fame in the early 1990s as a key figure in a generation of «Young British Artists».

This is distinctly different from the earlier generation of women artists such as Frankenthaler, Grace Hartigan, and Joan Mitchell, who bristled at the idea of being called a feminist.

Artists of earlier generations sought a signature style and produced exhibitions of very similar paintings, and old - school galleries and collectors no doubt still favour this kind of «branding.»

The subject of a major retrospective in 2016 — travelling to locations ranging from MoMA to Madrid's Museo Nacional Centro de Arte Reina Sofía, and then on to Dusseldorf in early 2017 — Broodthaers continues to inspire a generation of artists, curators and thinkers.

Coinciding with Frieze Masters, the exhibition of these important series will provide a renewed perspective in which to consider the significance of the artists» earlier works and their influence on subsequent generations of painters and photographers.

Gomes belongs to a generation of Latin American artists that includes Beatriz Milhazes (b. 1960), Ernesto Neto (b. 1964) and Adriana Varejao (b. 1964), but her work also contains qualities found in the Neo-Concretism of the early 1960s, when a Brazilian group of artists — such as Lygia Clark (1920 — 88), Lygia Pape (1927 — 2004) and Helio Oiticica (1937 — 80)-- broke away from traditional Latin American modernism in favor of a more integrated and experiential form of geometric art.

He is thus part of an artist generation that radically broke with painting's dominant position in the early 1960s.

Emerging in the 1970s as part of the Pictures Generation, she established her signature style in the early 1980s, when she began taking pictures of other artists» works displayed in museums, storage spaces, auction houses, and collectors» homes.

«Rebecca Warren is one of Britain's most vital contemporary artists, whose work invites us to engage with the aesthetic conventions of an earlier generation of male sculptors through a freshly feminist sensibility,» said Gavin Delahunty, Hoffman Family Senior Curator of Contemporary Art, DMA.

After the news of his death went viral, Sir Nicholas Serota, the director of the Tate gallery, stated the following in an attempt to dull the pain of the loss: Angus Fairhurst was always deprecating about his own talent, but he made some of the most engaging, witty and perceptive works of his generation and was an enormously influential friend of other British artists who came to prominence in the early nineties.

The artists» shared exhibition history, with Peláez showing her work alongside the new abstract generation in the 1950s, challenges the art historical narrative of a rupture between the early

It takes as its starting point Robert Heinecken's series Are You Rea (1964 — 1968), and features also works by leading «Pictures Generation» artists, including Prince, Barbara Kruger and Louise Lawler, who came of age during the consumer culture of the late 1970s and early 1980s.

KSThat earlier generation of women artists was not given the option of being feminists — and, even later in life, many were not interested in embracing that identity when it was on offer.

The new Tate Britain show is billed as the largest exhibition of the artist's work for a generation, covering all of Nash's output from early watercolours through to his final landscapes.

She collaborated with Ulay from 1976 - 89, created some of the most iconic early performance pieces, and is one of few artists of her generation who continues to make important durational works.

Many first generation Conceptual artists working in the late 60s and early 70s de-emphasized the art object, in part as a gesture against what they perceived as the increasing commercialization of the artwork (one thinks of Sol LeWitt's ephemeral wall drawings, painted over at the end of their exhibition, or the linguistic investigations of Lawrence Weiner who in 1972 wrote, «I do not mind objects, but I do not care to make them»).

Having garnered an international reputation as one of the leading artists to emerge from the New York Pictures Generation of the 1970s and 1980s, Simmons has thoughtfully and methodically moved through her various photographic series, such as Early Black and White Interiors, 1976 — 78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and other banal props; and Walking & Lying Objects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with human legs.

Lives and works New York) Cheryl Donegan's work demonstrates the concerns and modes of a generation of artists, many of them women, who began to use conceptual strategies in the early 1990s to question the hegemony of canonized artists, many of them male.

As he elaborates on their similarities and differences in accordance with his rejection of residual European influences in favor of the new application of fabricated objects and industrial products, we realize that his argument is part of his greater advocacy for the works of the artists of his generation (similar to what Clement Greenberg wrote a decade earlier in 1956, in his equally significant essay, «American - Type Painting»), and further deriving from his own artistic output at the time.

Los Angeles in the early»60s was a blank canvas for a new generation of artists.

Michael Snow falls within the tradition of artists who work in more than one medium - those of an earlier generation such as Marcel Duchamp, Man Ray and Laszlo Moholy - Nagy, and contemporaries like Vito Acconci, John Baldes - sari, Bruce Nauman and Richard Serra.

By the early 1960s, he had achieved great recognition which was unparalleled for most young artists and unprecedented for African - American artists of his generation.

Her use of weaving claims a relationship to the reassertion of «women's work» by an earlier generation of feminist artists amplifying the tradition of stitchcraft.