Sentences with phrase «edge abstraction first»
The Automatiste movement gave way in the mid-1950s to a rigorous form of hard - edge abstraction first marked in the work of Leduc and the Plasticiens, a group that was formed in 1954 by the critic Rodolphe de Repentigny (who painted under the pseudonym Jauran) and 3 other painters; it first exhibited in 1955.
http://www.thecanadianencyclopedia.ca/ Not exact matches
Opening: Mark Reynolds at Pierogi Geometer Mark Reynolds» first exhibition of drawings reflects the artist's lifelong commitment to «drawing and visually constructing geometries,» according to a release, in the styles of geometric abstraction, hard - edge painting, minimalism, and others.
«Clyfford Still is among the first to develop an expressionist abstraction and not one that's geometric or hard - edged based on cubes or rectangles,» Sobel said.
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.
JW: My background was first in gestural abstraction, then in a rejection of it and moving onto hard edge abstraction in which gesture is completely suppressed.
The «Prison» installation marks Halley's first attempt to incorporate theater lighting into the mix, which seems to add a compelling emotional component to his hard - edged, resolutely cheerful abstraction.
Stella's hard - edged, wall - scale abstractions are honored in the first major retrospective to grace the Whitney's new building, while Katz's stylized figurative portraits have been the subject of several major museum exhibitions.
She painted hard - edged abstraction in the 1960s, with some of very first examples of computer - assisted design in painting.
She was one of the first artists to explore computer imaging, using it to develop hard - edged abstractions, still rooted in the female experience of the body (termed «central - core» imagery).
Thomas Downing, Fahrenheit, c. 1961 Acrylic on canvas, 901⁄2 x 87 inches October 4 — December 1, 2007 Gary Snyder's first year of programming will focus on Hard - Edge Abstraction circa 1955 — 1975.
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).
The exhibition title itself is a literal reference to the historical terminology Hard - Edge painting; which was first coined in the late fifties and used to describe intense and abrupt delineation of color within the burgeoning Geometric Abstraction and Op - art movements.
See the excellent first show by Brent Wadden, a young Canadian - born painter who has set aside his brushes and taken up weaving, making thick rug - like abstractions whose jagged, interlocking shapes have the wobble of Op Art except softened by vagaries of color, texture and edge.
Among the dominant trends in the Post-Painterly Abstraction are Hard - Edged Painters such as Ellsworth Kelly and Frank Stella who explored relationships between tightly ruled shapes and edges, in Stella's case, between the shapes depicted on the surface and the literal shape of the support and Color - Field Painters such as Helen Frankenthaler and Morris Louis, who stained first Magna then water - based acrylic paints into unprimed canvas, exploring tactile and optical aspects of large, vivid fields of pure, open color.
Gilliam then moved into abstraction, first hard edged like Downing, and then in 1966 he found his own style with the «Slice» paintings.
The first work in the show is a vibrant abstraction by Alma Thomas, next to an equally vividly hued work by Charmion Von Wiegand, two hard edge abstractions, yet of a very different nature and sense of scale.
Affecting formal inconsistency while taking hard - edge abstraction to task, Cordy Ryman's small - scale non-serial abstract paintings made of acrylic, enamel, spray paint, staples, foam, Velcro, Floam, glue and Styrofoam are layered, non-referential, brittle and bent with provocative juxtapositions that use a selection of mundane, everyday materials that first appear as a series of naïve constructions.