Sentences with phrase «early modernist works»

His oeuvre includes early modernist works, geometric abstractions, drip paintings, stain paintings and abstract expressionist works.

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

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

Surface Tension: Pictorial Space in 20th - Century Art traces this transformation, from early modernist works influenced by Cubism through the age of Abstract Expressionism.

I think my goal is to create my own language within a structure that is referential to the history of painting and abstraction because I think in a lot of ways abstraction started with that early modernist work.

Not exact matches

In many ways, his work can be understood as a reinterpretation or recontextualization of an earlier European Modernist vocabulary.

The exhibition will look back at Hockney's most iconic works and key moments in his career from the 1960s to the present, including his early experiments with modernist abstraction, his mid-career experiments with illusion and realism, and his current jewel - toned landscapes.

The exhibition looks back at Hockney's most iconic works and key moments in his career from the 1960s to the present, including his early experiments with modernist abstraction, his mid-career experiments with illusion and realism, and his current jewel - toned landscapes.

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.

On view are Illustrations by early modernist Arthur Dove and others, a genre group by John Rogers, experimental photography by Martina Lopez, abstract work by James Rosenquist as well as works by Alonzo Chappel, François Girardon, George Grosz, Daniel Ridgeway Knight, Henry Varnum Poor, Adolf Schreyer, and others.

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.

Thomas Chimes: Early Works (1958 - 1965), 2009 Text by Lisa Saltzman 56 pages, Hardcover Published by Locks Art Publications ISBN: 978 -1-879173-41-5 «Developing, in these formative paintings, a visual style indebted to the palette and compositional structures of such modernist forefathers as Marsden Hartley and Henri Matisse and emboldened by the stenographic proto - abstractions of such New York School predecessors as Jackson Pollock and Mark Rothko, Chimes systematically put forth a series of paintings that pressed such experimentations with the limits of figuration into the realm of the theological, the philosophical and the historical.

As early as 1906, af Klint was working with abstract imagery — giving her a lead of several years in the modernist race to be the first to discover abstraction.

His early work was largely shaped by non-Western art, but in the later period, he was much inspired by leading modernists such as Picasso, Arp, Brancusi, and Giacometti.

One can't help but wonder: would Jacob Kassay's monochromatic paintings be different if his former boss, Christopher Wool, hadn't worked in his early days for the modernist sculptor Tony Smith?

His early 1950s works, painted in a European Modernist style, often show originally «American» subject matters such as scenes of western expansion.

Acts of process seem paramount in your earlier work but not in the modernist etymology of word, not by revealing the making of the thing but rather reacting to it, altering the thing's physical state by responding to its raison d'être.

Other thematically unrelated but visually cohesive works include a trio of Early Modernist knockoffs from the mid-1980s by Sherrie Levine, which remain conceptually irritating but here look refreshingly, crisply graphic; a 45 - minute video from 1994 by Gary Hill; a 2009 color photograph of a child in a white Levi's t - shirt by Josephine Pryde; some bundled pseudo-newspapers by Robert Gober (1992) and, in a collaboration between Gober and Christopher Wool, a photograph of a girl's dress hanging in a tree (the dress presumably Gober's handiwork; the photograph, Wool's), near one of the latter's enamel - on - aluminum pattern paintings.

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.

While Meckseper's earlier vitrine works commented on contemporary consumer culture using the shop window as an example and focus point for civic unrest and protest in our late capitalist society, her current works allude to the political dimension of early modernist display architecture and design between World War I and II in Weimar Germany.

Early proponents of concrete art such as Max Bill, Judith Lauand and Lucio Fontana were working during a period of great technological achievements which opened a broad perspective to objective thinking and modernist ideas.

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.

Other strengths of the twentieth - century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O'Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson and Ralston Crawford; a good showing by the American Scene painters Charles Burchfield and Edward Hopper; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry and Thomas Hart Benton, notably the latter's celebrated five - panel mural, The Arts of Life in America (1932).

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

The works in this exhibition — the earliest made in the early 1970s and the most recent completed in 2007 — replicate, modify, and critique Modernist aesthetics, illuminating form's relationship to history, subjectivity, and social space.

Karl Knaths, an early modernist who worked in a cubist idiom, was born Otto G. Knaths in Wisconsin in 1891.

1989 Transformations in Landscapes: Postwar Works from the Collection, Albright - Knox Art Gallery, Buffalo, NY Early Twentieth - Century Modernists, The Arkansas Arts Center, Little Rock, AR

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.

Beginning with her earliest works — drawings and paintings created in the 1940s while studying at Black Mountain College — this beautifully illustrated volume traces Asawa's trajectory as a pioneering modernist sculptor who is recognized nationally for her wire sculpture, public commissions, and activism in education and the arts.

After the war, he continued his art training in Paris with French modernist pioneers André Lhote and Jacques Villon, who directly influenced Gray's early work.

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.

Murray's work builds on the legacy of early twentieth - century Modernist movements such as Cubism and Expressionism, funneling them into her own language that is equally concerned with psychology and the quotidian.

Maki's work is influenced by early Modernist Abstraction, while her combination of materials and technique make the pieces uniquely her own.

One can connect them with early historical modernist painting, and aspects of New York School paintings in the»50s, but there's a physicality, as I said earlier, a scruffiness, a kind of attitude present in your paintings that doesn't feel like anything else one has really seen within that mode of working.

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.

The show comprised five sculptures each of which was made using a similar process to his earlier works: images of classical and Modernist art objects found on the Internet were rendered, via a computer, as basic three - dimensional models.

For press information and images, please contact Jessica Eckert, [email protected] Crystalline Architecture Curated by Josiah McElheny June 30 - August 20, 2010 Page two (supplementary information) Notes on the earliest historical works in the exhibition An original copy of a limited - edition book by the architect Bruno Taut, Alpine Architektur in 5 Teilen und 30 Zeichnungen des Architekten Bruno Taut (1919), depicts a modernist architectural environment situated in the mountains.

Maki's work is influenced by early Modernist Abstraction, while her combination of materials and techn...

The 2 - D paintings in colored sign vinyl from her Color Theory Series quote works of the jazz - and language - inspired modernist Stuart Davis, in his transition from early Cubistic and Romantic influences to an engagement with radical politics and popular culture.

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 monochromatic sculptural pieces, like Giallo Cromo (1961), recall, instead, the modernist work of Louise Nevelson, the American sculptor who, in fact, made her European debut right at that time, in the early 60s.

In his early work, Will Barnet combined intimist evocations of family life with a modernist sense of form, while teaching printmaking and painting at the Art Students League, and other schools.

Whereas the then - fashionable neo-Expressionists combined images pastiched from eclectic cultural sources with a loose painterly style, Jensen renewed the symbolist impulse that fueled the work of late American Romantics and early American Modernists such as Albert Pinkham Ryder and Marsden Hartley without resorting to parody or kitsch.

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.

In addition to the early work of Moran and Cassidy, the exhibition includes a few notable exceptions to the shared pursuits of the Modernists.

In his later years, he also designed furniture whose simplicity echoed his own sculptures and the work of early modernist designers he admired, like Gerrit Rietveld.

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.

This catalog collects 27 full - color illustrations of these paintings, along with generous examples of Slutzky's earlier work, to critically examine how the painter's manipulation of color and transparency have transgressed the modernist canon of flatness.