Sentences with phrase «early shaped canvas»

Painted in 1979, «Druid,» which is currently on view at the Whitney Museum of American Art, is one of Elizabeth's early shaped canvas works.

In the «Black» paintings (included in the Museum of Modern Art's 1959 Sixteen Americans exhibition) and the «Aluminum» paintings which followed (his earliest shaped canvases, exhibited in this first solo show at the Leo Castelli Gallery in 1960) the picture's surface echoed and reiterated its depicted shape, reinforcing modernism's notion of painting's flatness as it sought to establish the painting as an object.

The survey will bring together the artist's key bodies of work — including her early shaped canvases, freestanding sculptures, and light encasements that she engineered in the mid-1960s, as well as her breakthrough White Light paintings, begun in 1968, and the Black Earth series that she initiated after moving in 1970 from downtown Los Angeles to Topanga Canyon, where she lives and works today.

None of these early shaped canvases are on display here and the exhibition presents Smith as an abstract rather than a pop artist, although both terms need qualification in reference to a career formed by the circumventing of dogmatic positions.

Not exact matches

Well, spherically - shaped Kirby is back in his latest outing on Wii U, Kirby and the Rainbow Curse, the spiritual successor to the early DS game, Kirby: Canvas Curse.

American artist Mary Heilmann's (b. 1940) career spans five decades, from her early geometric paintings made in the 1970s to her recent shaped canvases in day - glo colours.

That year, Stella also exhibited a series of 30 - year - old sketchings he made in Spain in the early 1960s that disclosed how he worked out ideas about shaped canvases.

Although a better understanding of Oh's work would be a comparison with Richard Tuttle's early career, which smacked of formalism (the shaped canvas pinned to the wall, bent wires with false shadows) but in the end were completely intuitive.

This array is a development from KAWS» exhibition at Kaikai Kiki Gallery earlier this year, where that melange of shadowy body parts is endlessly abstracted by their shaped canvases here.

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).

In the early - to - mid»60s he constructed nearly human - sized, egg - shaped canvases, monochromes, which he painted in a heavy impasto the colors of Easter eggs, poking and jabbing lots of holes on their surfaces in all - over fashion, à la Pollock, as in Concetto Spaziale, La Fine de Dio (Spatial Concept, the End of God).

Sydney Ball, Zianexis, 2009 Acrylic on canvas, 152 x 168 cm March 4 - 21, 2010 The following extract is taken from «Sydney Ball: prophet of abstraction» by Wendy Walker, Sydney Ball: The Colour Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract -LSB-...]

The earliest examples — the Aluminium Paintings (1960) and Copper Paintings (1960 - 1961), were followed by works that extended the concept of the shaped canvas, including the Irregular Polygon canvases (1965 - 67) and the later Protractor series (1967 - 71).

Punctuating the monochromatic white and silver artworks are two early red shaped canvases: Superficie rossa n. 8 (1966) and Superficie angolare rossa (1961), both of which decidedly announce Castellani's break with the trajectory of painting to that point by rupturing the rectangular or square format.

In Twisted Figures, his third solo show at 532 Gallery Thomas Jaeckel, Hughes's latest series of acrylic paintings pushes this language into a new phase in which the shapes on the canvases continue to self - confidently assert their own presence, yet begin to move beyond an earlier, more matter - of - fact reliance on organic and visceral associations.

Sánchez created her first shaped canvas in the early 1950s, and subsequently developed her signature style of stretching canvas over wooden armatures while living in Havana, New York (1962 - 1966; 1968 - 1970) and Madrid (1966 - 1968).

Newman appears again in Twice Hammered (2011), where one finds the reproduction of Diao's earlier Barnett Newman: The Paintings (1990; for which Diao presents all of Newman's paintings at small scale and reduced to the shapes of their canvases) next to that work's accompanying catalogue entry from a May 2005 Christie's Hong Kong 20th Century Chinese and Asian Contemporary Art sale.

Meanwhile, still other artists looked back on Malevich's monochrome with paintings that conveyed form only through the shape of the canvas, like Robert Rauschenberg's early 1951 white paintings (which he considered stages for the interplay of ambient light and shadow) and Brice Marden's imposing examples from the 1960s.

Executed in the 1970s as an evolution of his early expressionist canvases, Jack Whitten's large - scale paintings reveal hidden geometrical shapes that emerge from an abstract surface.

One of the pioneers of Color Field Painting, Rothko's abstract arrangements of shapes, ranging from the slightly surreal biomorphic ones in his early works to the dark squares and rectangles in later years, are intended to evoke the metaphysical through viewers» communion with the canvas in a controlled setting.

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).

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.

Lines / Edges: Frank Stella on Paper features a range of Stella's experiments on paper including early translations of his Black series and shaped canvases, magnificent color woodcuts and screen prints from the 1980s, and the Moby Dick Deckle Edges, an impressive nine work grouping of large - scale prints from the early 1990s based on Herman Melville's Moby Dick.

The first shaped canvases have a scale, creepiness, and beauty that stand out compared to the fussiness of her paintings from the early 1970s and of her later work as well.

An early proponent of shaped canvases in the 50s, Ed Clark began using a large push - broom to push paint across the surface of the canvas in the 60s, creating subtly blended and thickly textured stripes of paint such as those in Yucatan Beige (1976), in which the stripes traverse beyond the central ellipse.

By the early 1980s, he was established in New York, where he developed a powerful style of richly painted stripes and shapes with a masterly control of color and strongly built canvases.

Murray in the early 1980s embraced both abstraction and shaped canvas, but she gave them a shape all her own.

The savvy art lover will discern the referents to earlier movements — the drippy spontaneity of Abstract Expressionism, the shaped canvases introduced by Frank Stella and Ellsworth Kelly, and the austere rigors of Minimalism.

Ms. Mehretu, who received her M.F.A. from the Rhode Island School of Design in 1997, has always layered her canvases with diagrams and information as a starting point: architectural plans of arenas or fortified cities underpin her small dashes and shapes that move in swarms across her early paintings.

This publication is the first to comprehensively trace this thread in Bartlett's practice, reproducing her newest paintings on canvas, the Blob paintings, and gathering works from three pivotal series in her career: early plate pieces from the 1970s, shaped canvases from the early 2000s, and plate pieces relating to the 2008 - 2010 room - size installation Recitative.

This exhibit is the first to comprehensively trace this thread in Bartlett's practice, debuting her newest paintings on canvas, the «Blob» paintings, and gathering works from three pivotal series in her career: early plate pieces from the 1970s, shaped canvases from the early 2000s, and plate pieces relating to the 2008 — 2010 room - size installation Recitative.

Contino's early works are hard - edged geometric paintings (including shaped canvases) composed of thick lines and contrasting solid colors that divide the canvas and form intricate shapes.

In the early 1980s, he produced his first «Metal Works,» in which he shaped canvases and cut metal to create abstract three - dimensional images.

Color indexes and logical patterns pervade her abstract paintings, including her rule - based plate pieces, shaped canvases from the early 2000s, and the «blob paintings» from 2012 — 13.

In the early 60's, inspired by the work of senior painters like Piet Mondrian and Josef Albers, Jackson moved away from the gestural style that had marked his work of the» 50's, developing his signature style of austere, hard edged geometric compositions on square and diamond shaped canvases.

Through his early experiments with phototext canvases, his conceptually - rich video art work of the early 70s, and his distinctive photo collages and installations of the 80s, Baldessari helped define and shape the landscape of contemporary art.

The artist retained the irregular forms of his «shaped canvases» of the late 1960s, but replaced the minimalism of his earlier paintings with three - dimensional reliefs that project forwards from the picture plane into the surrounding space.

In a clever move on MoMA's part, you can see out from the show to an early Frank Stella painting in the museum's permanent collection galleries; Mr. Stella was the first American artist to make shaped canvases, in 1960.

Berthot's early paintings were abstractions on shaped canvases.

The most significant of the often loosely defined movements of early contemporary art included pop art, characterized by commonplace imagery placed in new aesthetic contexts, as in the work of such figures as Andy Warhol and Roy Lichtenstein; the optical shimmerings of the international op art movement in the paintings of Bridget Riley, Richard Anusziewicz, and others; the cool abstract images of color - field painting in the work of artists such as Ellsworth Kelly and Frank Stella (with his shaped - canvas innovations); the lofty intellectual intentions and stark abstraction of conceptual art by Sol LeWitt and others; the hard - edged hyperreality of photorealism in works by Richard Estes and others; the spontaneity and multimedia components of happenings; and the monumentality and environmental consciousness of land art by artists such as Robert Smithson.

Mark Rothkoâ $ ™ s search to express profound emotion through painting culminated in his now - signature compositions of richly colored squares filling large canvases, evoking what he referred to as â $ the sublime.â $ One of the pioneers of Color Field Painting, Rothkoâ $ ™ s abstract arrangements of shapes, ranging from the slightly surreal biomorphic ones in his early works to the dark squares and rectangles in later years, are intended to evoke the metaphysical through viewersâ $ ™ communion with the canvas in a controlled setting.

She counts the linoleum, the velvet and the wax paintings as fantastic bodies of early work and also rates the shaped canvases, the pink paintings he recently made in Mexico as well as paintings that use words.

Pablo Picasso's re-working of classical composition inspired in part by African masks, Frank Stella's creation of non-rectangular shaped canvases, and Dan Flavin's experimentation with neon light are all important milestones in the history of modernism — an art movement that has origins in Western Europe in the early twentieth century and took hold in America in the 50s and 60s.

Gorchov became a strong artistic force in the late 1960s and early 70s within a group of Manhattan - based abstract artists, such as Frank Stella, Richard Tuttle, Blinky Palermo and Ellsworth Kelly, who rejected the ubiquitous rectangular canvas in favour of new shapes and configurations.

His early 1960s works had consisted of abstract paintings on paper and shaped canvases, and resembled boxes drawn in isometric projection.

Reflecting on her early optical abstract paintings, Howardena Pindell once remarked that she gave up the rectangle in favor of unstretched canvases with idiosyncratic, non-symmetrical shapes that conjured, as she once put it, «some internal intuition of nature.»

Hammons also included work by Joan Mitchell, Yayoi Kusama, who also showed at Brata, and Donald Judd, who organized a show for Clark in his loft in 1971, perhaps because he recognized that Clark was an early experimenter with shaped canvases (or «specific objects»), which preceded Frank Stella's use of shaped supports.

When he emerged in the early 1960s with his masterfully conceived and intricately constructed shaped canvases, Lukin, along with peers such as Charles Hinman and Richard Smith, was hailed for crucially expanding «hard - edge» abstraction, proposing a painted presence that metastasized into sculpture.

This volume highlights the work of American artist Leon Polk Smith (1906 — 96), one of the founders of the hard - edge style of minimalist art, who rose to prominence in the late 1950s and early 1960s with his distinctive shaped canvas series.

An African - American painter known for his shaped canvases, Edward Clark (b. 1926) was one of the early Abstract Expressionism New York painters and first turned to abstraction while in Paris in the early fifties.