Sentences with phrase «edge abstraction as»

I've never thought of Ellsworth Kelly's hard - edged abstractions as having much to do with the clumsy upside - down figures of the German Neo-Expressionist Georg Baselitz, but the colors and diagonals of Kelly's Green Black (1958) and Baselitz's The Lamentation (1983) parallel each other enough that the pairing grew on me.

Not exact matches

Liberalism as an abstraction can be criticized at the edges, but never in a way that might raise a doubt about one's being a liberal.

A graph is a mathematical abstraction consisting of nodes — usually depicted as circles — and edges — usually depicted as lines between nodes.

It is as if the hard - edged geometric abstraction of Ellsworth Kelly has loosened its grip.»

Some of the new styles and movements that appeared in the early 1960s as responses to abstract expressionism were called: Washington Color School, Hard - edge painting, Geometric abstraction, Minimalism, and Color Field.

As its title so aptly demonstrates, the show uses the concept of the line — or more specifically, the hard - edged line — as a starting point in exploring how contemporary artists approach abstractioAs its title so aptly demonstrates, the show uses the concept of the line — or more specifically, the hard - edged line — as a starting point in exploring how contemporary artists approach abstractioas a starting point in exploring how contemporary artists approach abstraction.

Writing in a brochure that accompanied a 2004 Drexler survey show in Philadelphia, Robert Storr noted how at times her «formats borrowed from contemporaneous hard - edge abstraction, in particular grid - based divisions of the picture plane that slyly allude to Barnett Newman... as well as Ellsworth Kelly and Al Held.»

A painting such as «Untitled (CR1403)» (2014) easily takes its place in a lineage of hard - edged abstraction with roots in Russian constructivism and including painters such as Frederick Hammersley (1919 - 2009) and Ellsworth Kelly.

On the first floor, Ceal Floyer's wall of speakers blaring the engaged signal of a failed telephone call, Line Busy (UK)(2011), is both a minimal work of art and a note of restrained humour; Cory Arcangel's hacked computer game screens, MIG 29 Soviet Fighter Plane and Clouds (2005), could be either political statement or benign dreamscape; while Allora & Calzadilla's Solar Catastrophe (2012) is a hard - edged abstraction made from solar panels, as well as an ironic admission of the wreckage left behind by this renewable energy source.

More painting, tending to semi-abstract, as imagery edged out abstraction; such were Chris Ofili's etched figurations that emerge as copulations out of a mottled blue backdrop, and Fondation Beyeler's three - wall installation of tiled pixellation that in photographs reads as porn.

Well, you create a picture that is about as tough and difficult, and against the taste, as you possibly can, like a mustard - colored, hard - edged abstraction.

Schapiro's hard - edge abstractions from this period are mature, confident works with great graphic impact, and it must be emphasized that the later works for which she's best known, where paint is replaced by or interacts with collaged textiles, are still highly geometric in their underlying structure; it is the inclusion of textile, with its gendered connotations, that marks them as a break from her formalist past.

A picture such as «Grind» playfully echoes the edge - conscious»60s abstractions of Frank Stella and Jo Baer while evoking the vernacular tradition of sign painting and the cross-fertilization of painting and graphic design that culminated in Pop art.

This covered a number of movements, from stain painting (just what it says) to systemic painting (most famously Josef Albers, who reduced his work to a series of coloured squares, one inside another), minimal painting (such as that of Agnes Martin, obituary, January 10) and hard edge abstraction.

In abstract painting during the 1950s and 1960s several new directions like hard - edge painting and other forms of geometric abstraction began to appear in artist studios and in radical avant - garde circles as a reaction against the subjectivism of abstract expressionism.

Color Field painting, hard - edge painting and lyrical abstraction [120] emerged as radical new directions.

The depiction of robotic parents gazing at their equally robotic newborn, keyed to a bubblegum palette, looked to be some kind of retro pastiche combining Cubist impulses, hard - edge abstraction, folk art and futurism as practiced by DC comics circa 1963.

She has made gestural as well as hard - edge abstractions, word paintings (her Angry Women series of 1973), and representational self - portraits, sometimes using such unconventional supports as rug samples, sandpaper, and canvases folded like accordion books.

Hard Edge Painting emerged as more than a reaction against Abstract Expressionism; it reflected a renewed interest in color isolated from emotion using geometric abstraction and a new approach to compositional unity within a single plane.

Michael Boyd (b. Waterloo, Iowa, 1936 — d. Ithaca, New York, 2015) began his career as an Abstract Expressionist in New York City and gradually moved toward hard - edged abstraction.

He was a Los Angeles based artist known strictly in the West Coast art circles as one of, or perhaps the pioneer (unbeknownst to most) of what some critics called «Hard Edge Abstraction.»

Of Gray's paintings, New York Times critic Ken Johnson wrote that «his stroke is relaxed, but exacting» and described Gray's concerns and «all - over abstractions as a kind of primordial, peaceable kingdom, as far from the frenetic hard - edged modernity of New York City as one could get.

In the 1970s, when Caribbean immigrants to New York popularized infectious salsa rhythms thanks to such musicians as Johnny Pacheco, Freddy Rodríguez created dynamic abstractions edged sharply with what might be called salsa's «island beat.»

Artists were driven to create what he thinks to be some of the most cutting edge work produced in Abstraction, Paglia specifically cites Houston artists Robert O. Preusser and Gene Charlton as examples.

The exhibition will go back to 1958, opening with paintings such as «East Broadway» and «Astoria,» sweet abstractions with fuzzy - edged stripes of yellow and black.

However, his rejection of the expressive brushwork employed by other abstract expressionists such as Clyfford Still and Mark Rothko, and his use of hard - edged areas of flat color, can be seen as a precursor to post painterly abstraction and the minimalist works of artists such as Frank Stella.

The pieces are not instantly recognisable as Kelly's — no blocks of bright colour, no linear pivots, none of the hyperchromatic test cards which have marched across gallery walls since Kelly first developed his distinctive brand of abstraction, sometimes called hard - edged, sometimes called geometric, sometimes grouped with minimalism and Pop Art (all terms, incidentally, which Kelly himself rejects).

Understood as an umbrella under which hard - edge painting, color stain painting, lyrical abstraction, and minimal painting stood, post-painterly abstraction introduced a more logical and systematic approach to creativity.

Artist, curator and writer, Matthew Deleget has described Hill as being «on the leading edge of a group of contemporary artists who are working with new abstraction, issues of painting, and pushing those in really compelling and interesting new directions, particularly through the filter and through the lens of photography and digital media.»

Sharing a gallery with Haynes, Nene Humphrey takes the tactile, physical edge of abstraction as her subject, but she, too, thrives on the visual.

The move towards a more hard - edge style of abstraction, the clear lines, high contrast of color and its various hues, along with the rejection of the tactile application of paint were seen as the dominant features of such movement [2].

Alongside color field painting and post-painterly abstraction, hard edge painting was introduced to the world of abstract art as a response to the gestural Abstract Expressionism.

Given the title Post-Painterly Abstraction, or «concrete abstractions,» these later works exhibited large, crisp - edged geometric forms with aggressive colors and were met with great acclaim, establishing him as a major figure in the art world.

Michael Rudokas brings those memories even closer to the painterly ideal of art as object, while softening the edges of geometric abstraction.

Composition abstraite (1969) is measured yet chaotic — a sheen of impurity spreads over its irregular, dimly - pigmented shapes, though Orange, jaune et vert (1964) truly exudes the rough - round - the - edges expressionism that earned Tachisme, a catch - all term for pre - and post-war non-geometric French abstraction, its reputation as the European equivalent of New York's Abstract Expressionism.

And his numerous late series of flat, hard - edged geometric abstractions on multiple aluminum panels — exploring the cardinal points, New York City and the times of day — confirm Palermo to be a genuine painter who can push abstraction's economy of means to the point that his imagery resembles little more than signal flags yet still engages as serious paintings.

In abstract painting during the 1950s and 1960s several new directions like Hard - edge painting and other forms of Geometric abstraction like the work of Frank Stella popped up, as a reaction against the subjectivism of Abstract expressionism began to appear in artist studios and in radical avant - garde circles.

The presentations have addressed specific decades and geographies as well as certain movements and tendencies, including Color Field, geometric and hard - edge abstraction, Op Art, Pop Art, Minimalism, Feminism, and Conceptualism in a variety of media.

For Greenberg they possess a radicalism that comes more from Impressionism than Cubism, while his later dissatisfaction with increased mannerism of the Abstract Expressionist paintings led him to coin the term Post-painterly Abstraction under which he included the novel tendencies in abstraction such as color field painting, hard - edge abstraction, and the Washington CoAbstraction under which he included the novel tendencies in abstraction such as color field painting, hard - edge abstraction, and the Washington Coabstraction such as color field painting, hard - edge abstraction, and the Washington Coabstraction, and the Washington Color School.

The 21st Century saw an emergence of different art movements; as technological development brought new opportunities, new movements have emerged, and many of them could be described as abstract art: digital art, computer and internet art, hard - edge painting, geometric abstraction, appropriation, hyperrealism, photorealism — to mention a few.

Until the past season, geometric abstraction would have been seen as the dark side of the «cutting edge.»

Hard edge abstraction seemed to be the one to take a look at as it's probably the most ubiquitous and the one that tends to get the most formal.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.

Like silent x-rays and inverted silhouettes, the array of geometric abstractions in Amm's canvas works appear as nearly cubistic imprints of shadow shapes, broken planes and the torn edges of elegantly textured surfaces.

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.

Nassos Daphnis (1914 - 2010) was a Greek - born American painter and sculptor recognized for his mastery of geometric abstraction and his evolution into what became known as hard - edge painting.

And then on the wall behind the figure is the aftermath of the painting process, in which you work on the wall and at the edges of the canvas you end up with this sort of linear abstraction as a residue.

Using the history of abstraction and pop as a readymade, Einarsson here distills a poetics of disruption, shifting between drippy hard edge abstraction, graphic renderings from mainstream sources, and the occasional deployment of the ben - day dot.

She also worked as a mural painter for the Works Progress Administration, and spent years experimenting variously with collage, biomorphic abstraction, hard edge abstraction, small - scale works inspired by her Jewish heritage and large - scale works informed by her personal life.

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.