Sentences with phrase «edge abstractions from»

Four Abstract Classicists features hard - edge abstractions from LACMA's collection by Karl Benjamin, Lorser Feitelson, Frederick Hammersley, and John McLaughlin.

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.

Not exact matches

And even apart from developments in physics, philosophers like Whitehead have shown that they are actually mathematical abstractions from a concretely complex and value - laden world, which hardly corresponds in fact to the sharp edges of the primary quantities.

March 2011 featured many wonderful painting blog posts on diverse topics ranging from hard - edged abstraction to the Danish Golden age of figure painting and by a mix of established art writers and artist bloggers.

Her paintings draw on various traditions of abstraction from gestural and geometric, hard - edge styles.

Calling up diverse references, from still life vanitas to hard - edge abstraction, color theory diagrams, and optical illusions, Eaton's work deeply engages with vision on physiological, technological, and philosophical terms.

Defining the Edge: Early American Abstraction Selections from the Collection of Dr. Peter B. Fischer

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.»

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.

Painting was in her blood, but she diverged from her mother's penchant for hard - edge abstraction, and instead gravitated in the 1950s toward a more informal, intuitive process centered on color relationships and fluid gestures, which she has been developing and refining ever since.

Providing unexpected representations of common objects ranging from bird nests to fabric to crumpled photographic paper, West often provides a deeper look at the details of his subjects while pushing their image to the edge of abstraction.

Abstraction survived because it did draw back from the edge — or, with Rafael Bueno, from flatness.

Aesthetically, the presentation includes Valledor's early expressionist abstract paintings and signature reductive and minimalist compositions with an emphasis on his later hard edge and color - based abstractions from the 1970s and 80s that included illusory and optical constructs exploring space and creating a tension between the two - dimensional and three - dimensional worlds.

This selection of paintings from the 1970s shows a range of Minimalist - inspired experimentations with abstraction: hazy, striped plexiglas paintings by Thomas Chimes (1921 - 2009), a Day - Glo round - edged canvas by Ralph Humphrey (1932 - 1990), atmospheric grid - based oil paintings by Warren Rohrer (1927 - 1995), subtly - lined acrylic monochromes by Sean Scully (b. 1945), and a pencil drawing by Sol LeWitt (1928 - 2007), are seen in relation to more recent paintings by Lee Ufan (b. 1936) and Pat Steir (b. 1940), who continue to explore the legacies of line and gesture in abstract painting today.

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-...]

One might start with a newcomer, Airplane, in a frame house on the western edge, where Andrea Burgay's light - toned abstraction and Shinya Watanabe's photographs of sunlight competed with ill - tempered robots from Tim Belknap and Peter Caine.

Many artists began moving away from geometric, hard - edge, and minimal styles, toward more lyrical, sensuous, romantic abstractions worked in a loose gestural style.

Held's Alphabet paintings from the early 1960s — large, flatly painted hard - edge abstractions based on letter forms — preceded Schapiro's Ox series by a few years, and his black - and - white series are from 1967 — 69.

The primary part of the exhibition, upstairs, displays a variety of work from different periods, including a number of significant hard - edge abstractions and works that include collage of patterned textiles.

Artists Lorser Feitelson (Lorser Feitelson and the Invention of Hard Edge Painting, The Late Paintings, and The Kinetic Series: Works from 1916 - 1923), Karl Benjamin (Karl Benjamin: Paintings from 1950 — 1965, Drawings from 1950 — 1965, Dance the Line: Paintings by Karl Benjamin, and Karl Benjamin and the Evolution of Abstraction) and Helen Lundeberg (Helen Lundeberg and the Illusory Landscape, Infinite Distance — Architectural Compositions by Helen Lundeberg) have each been featured in extensive retrospective exhibitions.

1998 American Abstract Art of the 1930s and 1940s: The J. Donald Nichols Collection, Wake Forest University, Winston - Salem, NC Defining the Edge: Early American Abstraction, Selections from the Collection of Dr. Peter B. Fischer, Laguna Art Museum, Laguna Beach, CA; Michael Rosenfeld Gallery, New York, NY

Work from this series was recently included in The Edge of Vision: Abstraction in Contemporary Photography May - July 2009 at Aperture Gallery, NYC.

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.

A variety of abstract styles ranging from geometric abstraction, lyrical abstraction, hard - edge painting and color field painting are linked with the work of Ronald Davis.

The exhibition will include works produced over the last 25 years of the artist's career and examine their evolution from softer, more decorative forms to harder - edged abstraction.

Neo-Dada, Post painterly abstraction, Op Art, hard - edge painting, Minimal art, Fluxus, Photorealism, and Conceptual art came afterwards, mixing up the influences from both sides and proving that the US has become a veritable artistic melting pot.

Post-War Abstraction: Our inventory also contains examples of abstraction from the 1950s through the 1970s, including Abstract Expressionism, Op Art, Washington Color School and California Hard EdgAbstraction: Our inventory also contains examples of abstraction from the 1950s through the 1970s, including Abstract Expressionism, Op Art, Washington Color School and California Hard Edgabstraction from the 1950s through the 1970s, including Abstract Expressionism, Op Art, Washington Color School and California Hard Edge Painting.

But in more recent works Gursky descends from high abstraction to more quotidian subjects: the famously expensive Rhine II (1999, remastered 2015)-- it sold for $ 4.3 m in 2011, breaking the auction record for a photograph — is displayed adjacent to a newer work, El Ejido (2017), in which the edge of a Spanish road echoes Rhine II's minimalist colour bands, but the landscape has been polluted with rubbish from passing cars.

With an insistence on the haptic qualities of the hand - made object, the work included in this exhibition ranges from the imperfections of the loose gesture to the precision of hard - edge abstraction.

The selected works range from the pioneering geometric abstraction of Rafael Soriano, Mario Carreño and José Mijares executed in Cuba in the 1950s, the concrete art of Carmen Herrera and constructive experiments of Zilia Sánchez produced in the diaspora, to the hard - edge abstraction of Fernando García from the 1980s and the more recent multi-dimensional installations by Cuban - Americans María Martínez - Cañas, Leyden Rodríguez Casanova, and Vanessa Díaz, to name only a few.

1998 Defining the Edge: Early American Abstraction, Selections from the Collection of Dr. Peter B. Fischer, Michael Rosenfeld Gallery, New York, NY; Laguna Art Museum, Laguna Beach, CA American Abstract Art of the 1930s and 1940s: The J. Donald Nichols Collection, Wake Forest University Fine Arts Gallery, Wake Forest University, Winston - Salem, NC

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.

From the 1930s, Avery spent numerous summers in the company of these younger artists and, during the summers of 1957 to 1961, when Avery, Rothko and Gottlieb vacationed together in the popular artists» colony of Provincetown, on Cape Cod, there was a significant coda to their reciprocal artistic dialogue, with Avery pushing his images towards the very edges of 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.

Recent exhibitions include the 2010 California Biennial at the Orange County Museum of Art, Newport Beach, curated by Sarah Bancroft; «Electric Mud» at the Blaffer Gallery, University of Houston, TX, curated by David Pagel; «Current Abstraction in Southern California», Cypress College Art Gallery, Cypress; «Keeping is Straight: Right Angles and Hard Edges in Contemporary Southern California Art», Riverside Art Museum, Riverside, CA, curated by Peter Frank; «Claremont Connections: Selections from the Permanent Collection», Long Beach Museum of Art, Long Beach, and «Gyroscope», Hirshhorn Museum and Sculpture Garden, Washington DC, and exhibitions at Ameringer McEnery Yohe, New York, at Marx & Zavattero, San Francisco, and at Curator's Office, Washington, DC.

1998 American Abstract Art of the 1930's and 1940's: The J. Donald Nichols Collection, Wake Forrest University, Winston - Salem, NC Defining the Edge: Early American Abstraction, Selections from the Collection of Dr. Peter B. Fischer, Michael Rosenfeld Gallery, New York, NY; Laguna Art Museum, Laguna Beach, CA

Many of Hofmann's most uninhibited, «loose» abstractions, with their soft - edged patches of intense color and whiplash drawing, appear informed by Kandinsky's dynamic paintings from 1910 — 14 — not surprisingly, since Hofmann owned several intimate Kandinsky works on paper of this type, which his wife brought to America when she joined her husband in 1939.

Since the early 1960s, Richter has explored a variety of styles, including various flavours of abstraction, from hard edge stripes to the faux expressionism of squashing paint under glass or dragging it across the canvas with a squeegee.

His Doors series, which brought him this early success, are based on real doors found in public institutions like hospitals and schools, but Hume represents them sparsely and richly, liberally borrowing strategies from the color field and hard - edge abstraction movements.

But in their effects and in their relation to the previous history of art, these paintings are very different from the hard - edge abstractions of Newman and his many followers....

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.

Also included are works made over the last 25 years that allow a look into the work's evolution from soft and decorative works into harder - edged abstraction.

In one group of works from 1976, paint is applied in layers of subtle color (a signature of her work in all media); a 1966 series of distilled, hard - edged abstractions evoke the architecture of the artist's childhood home with its white clapboard siding and picket fence.

Aesthetically, the presentation includes Valledor's early expressionist abstract paintings and signature reductive and minimalist compositions with an emphasis on his later hard edge and color - based abstractions from the 1970s and 80s.

Rhodes» work carries strong reference to post-painterly and hard - edge abstraction in addition to the deep influence of pop appropriation spanning from commercial signage to the guerilla tactics of amateur street advertising.

«Painting in Place», LAND Los Angeles Nomadic Division, Los Angeles, CA «Learning to See: Josef Albers and the Interaction of Color», Scottsdale Museum of Contemporary Art, Scottsdale, Arizona «Work», Klaus von Nichtssagend Gallery, New York, New York «Painting in Place», Los Angeles Nomadic Division, Los Angeles, California «EDGE, ORDER, RUPTURE», Galerie Lelong, New York, New York «Lines and Shapes: Geometric Abstraction From the Art Bank Collection», Art Bank Gallery, Washington, DC

NORTH ADAMS, MASSACHUSETTS — In the Abstract brings together a mix of multi-generational artists whose works represent a potent and muscular approach to contemporary abstraction that adopts and adapts various formal strategies of painting — from hard - edge geometries and dense color blocks to gauzy color fields and expressionist marks — with that of sculpture, photography, digital processes, and video.

In addition to a 2008 solo exhibition, the gallery has featured his work in several major group exhibitions, including: Aspects of American Abstraction, 1930 - 1942 (1993), Defining the Edge: Early American Abstraction, Selections from the Collection of Dr. Peter B. Fischer (1998), Organic New York, 1941 - 1949 (2005), and two major surveys of abstract expressionism and surrealism, in 2009 and 2010, respectively.

Morris looks at Downes» move from hard - edge abstraction to landscape painting through the prism of his [Downes»] book In Relation to the Whole: Three Essays From Three Decades, 1973, 1981, 1from hard - edge abstraction to landscape painting through the prism of his [Downes»] book In Relation to the Whole: Three Essays From Three Decades, 1973, 1981, 1From Three Decades, 1973, 1981, 1996.

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.