Sentences with phrase «early modernist artists»

Jizi was by and large self - taught, synthesizing the techniques and philosophy of traditional Chinese ink painting with individualistic expression culled from early modernist artists in the West.

Not exact matches

Rejected in life, after death he was recognized as the preeminent early modernist and embraced as the model artist - martyr in an uncaring, hardheaded world.

It presents 19 early modernist works by artists such as Alexander Calder, Jacques Lipchitz, Isamu Noguchi, and Auguste Rodin.

Among Pictures artists from CalArts were Salle, Goldstein, James Welling, Matt Mullican and Barbara Bloom, whose 1972 «advertisements» of steel windows for modernist homes, Crittall Metal Windows (1972), are the earliest works in the Met show.

Framed by Gill & Lagodich in a custom - made variation of an early 20th - century American Modernist painting frame; simple, flat artist - made construction; painted wood, antiqued gesso, stone gray patina; molding width: 6» Museum purchase funded by the John R. Eckel, Jr..

The lines of academic and modernist influence from Europe to the United States can be traced in the field's early days, by such artists as Stuart Davis and Marsden Hartley.

This exhibition traces the career of artist Gary Erbe from his early troupe l'oeil works to his recent paintings combining realism with modernist tendencies, including works that focus on objects arranged to emphasize composition, form and structure.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century - of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life - continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

Night Vision is organized chronologically beginning with landscape artists» visions of moonlight, moving to early Modernists» experimental representations of electrified evenings, and concluding with interpretations of the night by American realists and abstract artists.

Tillman Kaiser shares concerns with other contemporary European artists in displaying a fascination with early modernist design, Utopian ideology and Futurism redux.

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

Rather than feature the work of only a few artists or selected stylistic movements, the early Whitney aimed to convey the breadth and diversity of American art, from conservative portraiture to modernist abstraction.

The first monographic exhibition of the artist to be held in the US since 1987, Berthe Morisot: Woman Impressionist provides new insight into a defining chapter in art history and the opportunity to experience Morisot's work in context of the Barnes's unparalleled collection of impressionist, post-impressionist, and early modernist paintings.

In the latter perspective, early minimalism yielded advanced Modernist works, but the movement partially abandoned this direction when some artists like Robert Morris changed direction in favor of the anti-form movement.

It presents 19 early modernist works by artists such as Max Bill, Alexander Calder, Jacques Lipchitz, Henry Moore, Isamu Noguchi, and Auguste Rodin.

«In the early twentieth century the general public often linked portraiture to flattering transcription and middle - class values; the genre provided strict, longstanding conventions that some modernist artists chose to bend or break,» said Walz.

«In the early 20th century the general public often linked portraiture to flattering transcription and middle - class values; the genre provided strict, longstanding conventions that some modernist artists chose to bend or break,» said Walz.

At once gestural and reductive, his works amplify strategies first explored by modernist artists in the early 20th century.

Abstraction Across America, 1934 - 1946 explores two contemporaneous but geographically and philosophically distinct groups of early American modernists who laid the groundwork for abstract expressionism; the American Abstract Artists (AAA) and the Transcendental Painting Group (TPG).

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.

This is an excellent exhibition on the significance of Cornish modernist artists and their international network of artists that came and went or corresponded with them in the early 20th Century.

This series of exhibitions at the Whitechapel Gallery features over 60 artists and 100 works of art from the collection, and explores four different themes, which examine ways of defining Arab art from its early modernist beginnings and geographies.

The Pompidou may largely be closed but it's not idle: Among recent undertakings, it has organized this exhibition of roughly a hundred paintings and drawings, charting the early development of the pioneering modernist, who conceived of abstraction in purely visual terms, quite distinct from the spiritual motivations of early nonobjective artists such as Kandinsky and Mondrian.

Along with the White Paintings, which Rauschenberg completed in 1951, the Black paintings signaled the young artist's awareness of the status of the monochromatic canvas within the lineage of modernist painting, particularly as it was developing in the late 1940s and early 1950s at the hands of artists such as Barnett Newman (1905 — 1970), Franz Kline (1910 — 1962), and Willem de Kooning (1904 — 1997).4 Although the White Paintings and the Black paintings explored related formal strategies, the Black paintings in particular have been read as a response to the innovative rethinking of the monochrome that was occurring in those years.

His work interrogates the implications of early modernist ideas of nature, in particular a photograph of four angular «tree» sculptures made by the artists Joel and Jan Martel in 1925.

The first exhibition in the United States exclusively devoted to the artist focuses on her pivotal production from the 1920s, from her earliest Parisian works, to the emblematic modernist paintings produced in Brazil, ending with her large - scale, socially driven works of the early 1930s.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century — of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life — continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

Additionally in the late 19th century in Eastern Europe mysticism and early modernist religious philosophy as expressed by theosophist Mme. Blavatsky had a profound impact on pioneer geometric artists like Hilma af Klint and Wassily Kandinsky.

Leckey's interests might have shifted throughout the last decade — from an obsession with pop culture, subculture and the figure of the dandy in earlier films such as Parade (2003), and in his band collaboration DonAteller, with fellow artists Ed Laliq, Enrico David and Bonnie Camplin; to the high / low culture face - off of his BigBoxStatueAction performances (2003 — 11), in which Leckey's giant speaker stack confronts icons of modernist British sculpture, such as Jacob Epstein's Jacob and the Angel (1940 — 1); to his later multimedia performance lectures, the Internet - driven epiphany of dematerialisation In the Long Tail (2009) and its antithesis Cinema - in - the - Round (2006 — 8), with its more reflective inquiry into the physicality of images via, among others, Philip Guston, Felix the Cat, Gilbert & George, Homer Simpson and Titanic (1997).

From her investigation into the notion of artificial beauty to references of futuristic architectural ideas from the early 20th century, Korean artist Lee Bul has, over the past two decades, garnered international renown with a diverse and intellectually challenging body of work that includes sculptures, performances and installations, while always maintaining an intriguing relationship with modernist ideals.

The show displays a selection of pieces displayed salon style as both a reference to early modernist salons but also to the clutter and natural chaos of her own workspace.The show includes photographs, collages, drawings, and large - scale Polaroids, displaying for us a more personal, introspective viewpoint that we haven't seen yet from the artist.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

Highlights from the collection include furniture by Charles and Ray Eames, ceramics by Beatrice Wood, and sculptures by Claire Falkenstein, George Rickney and Peter Voulokos; Early 20th Century European Modernist paintings by Vasily Kandinsky, Alexej Jawlensky and others from the Milton Wichner Collection; and contemporary artists such as James Jean, Sherrie Wolf, and Sandow Birk whose paintings have recently been added to the collection.

The first major exhibition of Walters» work since the 1950s, this show situates him in the historical context of Woodstock ceramic arts, spanning the Byrdcliffe colony in the early 20th century and the work of Woodstock modernist artists in the 1920s and»30s.

Return of the Repressed looks at how artists adopted, often at great personal risk, the styles of the early twentieth - century Russian avant - garde and other modernist styles in defiance of Soviet aesthetics.

As Paul Morrison wrote (in Contemporary Visual Arts) of an earlier phase of Stubbs's work,» the paintings operate as perceptual palimpsests in which the artist overwrites modernist tropes with playful irreverence».

Continuing in the collecting trends of the past year, Miami Beach saw an ongoing interest in the modernist, avant - garde painters of the early and mid-twentieth century, with major works on view from Mark Rothko, Alexander Calder and Marcel Duchamp (Duchamp's work was seen frequently throughout the week), likely inspired by the recent price tags attached to these artists» works, and their emerging stature as defining talents of the past century.

In the early 1900s, the house was occupied by the American modernist sculptor Gaston LaChaise (Jackson Pollock and Isamu Noguchi worked down the block); then it belonged for a time to the artist Jeff Koons, who used it as an office and studio.

The Tantric Way highlights the parallels between Tantric art and the early twentieth - century modernist abstractions of Paul Klee, Piet Mondrian, Constantin Brancusi and Robert Delaunay, as well as the affinities between the post-war American painters Ad Reinhardt, Mark Rothko and Barnett Newman and the work of Indian artist Biren De.22 The latter was one of the leading members of a group of «neo-Tantric» artists newly promoted by New Delhi gallerist Virendra Kumar Jain, the older brother of Tantra Art's publisher, Ravi Kumar.23

O'Keeffe, Stettheimer, Torr, Zorach: Women Modernists of New York, currently showing at the Portland Museum of Art, examines the obstacles female artists faced in the early 20th Century in terms of production, interpretation and reception.

The social network of Pan Yuliang's early career as a modernist artist and an art educator in the period of the Republic of China resonated with larger social - political movements at that time: from the cultural construct of «New Woman» and the New Culture Movement, to the revolution and reform launched by the Nationalist Party and early Communists and the rise of modern nationalism in China, and from the end of World War I to the Japanese Invasion in 1937.

The quirky (and clearly illegal) «art bar» reprised an earlier effort, by four Austrian artists - in - residence at the MAK Center, to turn one of the carports in Rudolph Schindler's modernist, Mid-City apartment building into an approximate replica of Vienna's Adolf Loos - designed American Bar.

A member of the Art Dealers Association of America (ADAA) and a founding member of the International Fine Print Dealers Association (IFPDA), the gallery deals in Post-War and Contemporary art, including Minimalism, Abstract Expressionism, Pop art, and early 20th - century British and American artists, with an emphasis on the Grosvenor School and British Modernists, Provincetown Printers, American art of the 1920s - 1940s, and the best of children's book artists.

June 21 - September 27, 2009 The first comprehensive exhibition in the United States of this Latin American pioneering artist, the show examines the rise of modernist abstraction in Latin America — underscoring both the similarities and differences between Europe and South America — and chronicles Matto's early work made as a student...

The Grantchester Pottery was formed at Wysing in 2011 by artists Giles Round and Phil Root and is a conceptual pottery and design team inspired by early modernist decorative artist's studios like Roger Fry's Omega Group.

Often working with every day and found materials such as fabric, glass, wood, metal and ceramics, the artist typically makes small to medium scale organic constructions that combine an almost «Beuysian» shamanistic or ritualistic use of materials with the formalism of early modernist sculptural objects.

Of course the modernist works of art look very different from the paintings of Pontormo and Rosso Fiorentino, but the social conflicts faced by these early 16th century artists and the terms in which they chose to respond to them are not entirely unfamiliar to us.

The exhibition covers a period from the early 20th Century, when artists developed a dialogue with the new theories on evolution, over a number of modernists, to today's artists whose works are created in a technologically manipulated reality.

Paintings by the early Australian modernist Roy De Maistre, for example, share a space with a series of pieces by the young Dutch artist Riet Wijnen, whose interest in «the impossibility» of pure abstraction has led her to create a fictional dialogue between Grace Crowley (also a pioneering early Australian modernist), and the British constructivist Marlow Moss.

It ranges from the contemporary work of Elizabeth Peyton and Dana Schutz to artists of Katz» generation like Al Held and early - 20th - century modernists such as Charles Burchfield and Marsden Hartley.