Sentences with phrase «early modern abstraction»

But Quinlan's 2004 — 2007 «Smoke and Mirrors» series, for instance, which documents a large number of arrangements of the titular materials, alludes not only to the legacy of early modern abstraction but also to the Bush

Not exact matches

Back in the early seventeenth century Francis Bacon, the first modern philosopher of science, recognised that the developmental nature of modern scientific methodology provided a truer vision of how human knowing arrives at formality than the scholastic theory of abstraction.

Organized both thematically and chronologically, the show divides the works on view into two main chapters: the years from 1923 to 1933, a time when Torres - García was involved in early modern avant - garde movements such as Catalan Noucentismo to Cubism, Ultraism - Vibrationism, and Neo-Plasticism; and those from 1935 to 1943, a time in which he was fully committed to creating works in his unique style of synthetic abstraction.

For Dove, the difficulty of rendering forms in darkness proved a useful step in the early - modern march toward abstraction.

The bi-coastal gallery provided comprehensive client services and organized acclaimed exhibitions of modern and postwar art, such as Tanguy Calder: Between Surrealism and Abstraction (2010), John Chamberlain: Early Years (2009), and Tom Wesselmann: The Sixties (2006).

Early in his career, his work was included in a number of significant exhibitions that defined the sphere of postwar art, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962), The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971).

Treanor adds that there may have been fewer female artists working in abstraction because, in the early modern period, women were steered toward still - life painting or portraiture.

Distinct from the ways that early twentieth - century European avant - garde film advanced narratives of «failed vision» and «enlightenment» within the transformation of modern life, this conversation reconsiders the aesthetics of abstraction and experimentation that are beholden to an ethics of contingency and fragmentation within contemporary culture.

The exhibition combines a chronological display with a thematic approach, structured in a series of major chapters in the artist's career, with emphasis on two key moments: the period from 1923 to 1933, when Torres - García participated in various European early modern avant - garde movements while establishing his own signature pictographic / Constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.

2002 «Austere Geometry (1955 - 1975) & Modern American Masterworks (1930 - 1945),» Gary Snyder Fine Art, New York, NY «Early American Abstraction: Small Scale, Large Dimension,» Michael Rosenfeld Gallery, New York, NY (catalogue) «New York Abstraction 1930 - 1945,» Gary Snyder Fine Art, New York, NY

2004 «The 1930s: Modern American Art & Design,» Michael Rosenfeld Gallery, New York, NY (catalogue) «Breaking Boundaries: Early American Abstraction, 1930 - 1945,» Michael Rosenfeld Gallery, New York, NY

Early in his career, his work was included in a number of significant exhibitions that defined the art in the postwar era, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962) The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971).

Traveled to: Renwick Gallery, National Collection of Fine Arts, Smithsonian Institute, Washington, D.C.; Cooper - Hewitt Museum, New York, 1979 - 1980 «Art from Corporate Collections,» Union Carbide Corporation Gallery, New York, May 9 - 30 «Selections from the Collection of Mr. and Mrs. Eugene Schwartz,» Knoedler Gallery, October 31 - November 28 «Color Abstractions: Selections from the Museum of Fine Arts, Boston,» Federal Reserve Bank Display Area, November 2 - January 31, 1980 1980 «L'Amerique aux Independents,» 91e Exposition, Societe des Artistes, Grand Palais, Paris, March 13 - April 13 «The Washington Color School Revisited: The Sixties,» Fendrick Gallery, Washington, D.C., September 9 - October 4 «Washington Color Painters,» Milwaukee Art Center, September 1 - December 1981 «Paintings from the United States from the Museums of Washington, D.C.,» Institute of Fine Arts, Mexico City, November 18, 1980 - January 4 1982 «A Private Vision: Contemporary Art from the Graham Gund Collection,» Museum of Fine Arts, Boston, February 7 - April 4 «Papermaking U.S.A.: History, Process, Art,» American Craft Museum, New York, May 20 - September 26 «Out of the South: An Exhibition of Work by Artists Born in the South,» Heath Gallery, Atlanta, Georgia, October 1982 1983 «Early Works by Contemporary Masters: Caro, Francis, Frankenthaler, Gottlieb, Held, Louis, Noland, Olitski,» Andre Emmerich Gallery, New York, September 6 - October 8 «Tapestries: Contemporary Masters,» Malcolm Brown Gallery, Shaker Heights, Ohio, October 21 - November 30; New York, February 25 - March 7 «American Post-War Purism,» Marilyn Pearl Gallery, New York, May 31 «Recent Paintings by Kenneth Noland and Darby Bannard,» Douglas Drake Gallery, Kansas City, Missouri, June 1 - 30 «Arte Contemporaneo Norteamericans, Collection David Mirvish,» American Embassy in Madrid, January 1985 «Recent Acquisitions,» Museum of Modern Art, New York, February 16 - March 17 «Grand Compositions: Selections from the Collection of David Mirvish,» The Fort Worth Art Museum, Texas, May 1 «Contemporary Monotypes,» Edith C. Blum Art Institute, Bard College, Annandale - on - Hudson, May 8 - July 10 «Selections from the William J. Hokin Collection,» Museum of Contemporary Art, Chicago, April 20 - June 16 «American Abstract Painting,» Margo Leavin Gallery, Los Angeles, California, June 19 - August 24

Early in his career, his work was included in a number of significant exhibitions that defined the art of the postwar era, including Sixteen Americans, The Museum of Modern Art, New York, 1959; Geometric Abstraction, Whitney Museum of American Art, New York, 1962; The Shaped Canvas, Solomon R. Guggenheim Museum, New York, 1964 — 65; Systemic Painting, Solomon R. Guggenheim Museum, New York, 1966; Documenta 4, Kassel, 1968; and Structure of Color, Whitney Museum of American Art, New York, 1971.

1910 is the official date given by Alfred Barr, founding director of New York's Museum of Modern Art, for the creation of the first abstract paintings, but Af Klint made her forays into abstraction four years earlier — in 1906.

By the early 1940s the main movements in modern art, expressionism, cubism, abstraction, surrealism, and dada were represented in New York: Marcel Duchamp, Fernand Léger, Piet Mondrian, Jacques Lipchitz, André Masson, Max Ernst, André Breton, were just a few of the exiled Europeans who arrived in New York.

Alongside his celebrated abstractions, early black - and - white paintings and the photorealist depictions of candles, skulls and clouds that have become indisputable icons of modern painting, Panorama includes nearly 30 new paintings made over the past ten years, extensive comparative works, studio photographs, archival images and a substantial interview with the artist conducted by Nicholas Serota.

In the arts, a similar revolution was taking place; the realism of the early Modern period had been supplanted in the late 1950s by Abstraction and Pop Art.

Since the early twentieth century, abstraction has formed a central tenet of modern art.

As a graphic component in painting, it came to prominence in the early 20th century in the abstractions of the Russian painter Kazimir Malevich and the Dutch - born Piet Mondrian, who was widely considered the «most modern» artist of his time.

Further, as the flat stillness evokes early renaissance painting, the minimal simplicity of the compositional elements concurrently find resolution with contemporary and modern abstraction.

«Faced with the choice early in his career between realism and pure abstraction, he invented a vocabulary that harnessed the grammar of abstraction to the speed and simultaneity of modern America.

Her work has often felt as though it belonged to the early years of modern art — the world of artists using the constructivist modes of 1930s abstraction, although Ballard has also included forms derived from observable reality.

Throughout the 1930s she wrote about and taught art - the latter in both Dublin and Cork - playing an important role in the history of Irish painting, as an early proponent of abstraction in art and as a champion of the modern movement.

With an extensive scholarship, his artistic oeuvre also contains Abstract Painting: its Origins and Meaning, a slim volume arguing the development of abstraction by the early moderns.

The birth of abstraction in art can not be pinpointed to a single instance and really it is something that was born of the complexity and realities of the early modern western world.

(Suprematism, Constructivism, and De Stijl, the early avant - garde movements that were Minimalism's point of departure, had a conceptual dimension, as the theoretical writings of their artists make clear, but it was their rejection of representation in favour of pure abstraction that gave them their important place in the history of modern art, in the eyes of Greenberg.

Two key moments are emphasized: the period from 1923 to 1933, when Torres - García participated in various European early - modern avant - garde movements while establishing his own signature pictographic - constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.

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?»

Faced with the choice between realism and pure abstraction early in his career, Davis invented a vocabulary that harnessed the grammar of abstraction to the speed and simultaneity of modern America.