Sentences with phrase «edged abstraction for»

A small retrospective of Ms. Jaffe's large - scale signature paintings — of her ebullient, flat geometric shapes, lines, blobs and squiggles on generous white grounds — confirms that she has been successfully mining hard - edged abstraction for more than 40 years.

The newest art star in the New York scene is Carmen Herrera, a Cuban - born 101 - year - old woman who has been doing her own brand of geometric, hard - edged abstraction for more than 50 years, virtually unknown.

Ronay's hand - carved basswood sculptures, while often heavily patterned with dimples, curves and cairn - like stacks, eschew hard edge abstraction for a molecular, spore - like affect coupled with a kind of suggestive figuration in the form of disembodied hands and tongues.

Not exact matches

Yet for the last two years, Tony de los Reyes has been developing a quirky group of abstractions with exactly that distinctive — and distinctly political — edge.

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.

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

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.

They suggest the austerity of geometric abstraction, but without its hard edges or demands for flatness.

Al Held, known for hard - edged, geometric abstraction, has a more painterly, freehanded homage to the rectangle.

After studying with Hans Hoffman, Blaine would become the youngest member inducted into the American Abstract Artists group in 1944, celebrated for her hard edge abstractions.

Her designs still look like calligraphy, too, except for one minor detail: there is no getting around the human beings at the edge of abstraction.

Edna Andrade: Drawings (1958 - 1993), 2010 76 pages, Softcover Published by Locks Art Publications ISBN: 978 -1-879173-68-2 Philadelphia artist Edna Andrade (1917 - 2008) was revered for her mastery of Op Art technique and hard - edge geometric abstraction.

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.

After exploring hard - edge abstraction and unconventional materials for decades, Regina Bogat began incorporating a more gestural approach into her work.

Still others reacted against the devalued humanism of the period by turning to cool, hard - edged images of the figure or abandoned the expressionism of gestural abstraction for the deliberately impersonal geometry of the grid.

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.

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.

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.

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.

His paintings of the 1960s, 1970s and 1980s are associated with geometric abstraction, hard - edge painting, color field, and lyrical abstraction, although he did not readily subscribe to any category for his work.

Using a brace for support, Lenny taught himself to paint and began to produce complex hard - edge geometric abstractions, informed by his personal experience, but also reflecting the collective interests of his new Park Place friends.

Do they betray an affinity for hard - edge abstraction by the likes of Frank Stella (or her own husband, for that matter)?

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.

2011 Postcards from the Edge, CRG Gallery, New York, US Litos Grafere, Danish Art Center Silkeborg Bad, Silkeborg, DE; Museum of Stavanger, NO Freeriding, East / West Galleries, Woman's University, Denton, Texas, US Sculpture in So Many Words: Text Pieces 1960 - 75, Ziehersmith, New York, US Intrusions, Galerie Michèle Chomette, Paris, FR Compagni Di Viaggio - Traveling Companions, Mestna Galerija Ljubliana, SI L'Insoutenable Légéreté de L'Être, Yvon Lambert, VIP Art Fair, Online Art Fair, New York, US Box is a Box is a Box, Librairie Florence Loewy, Paris, FR Drawn / Taped / Burned Abstraction on Paper, Kotonah Museum of Art, Kotonah, New York, US As Long as it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvedere.

Critic Jules Langser and his friend Peter Selz coined Hard - Edge Abstraction because they needed a name for a show linking Lorser Feitelson, John McClaughlin, and Karl Benjamin — all California artists with a preference for sharpness and clarity.

Unfolding in front of us with the energetic rhythms and swirling colours reminiscent of Jackson Pollock's drip paintings such as Blue Poles, 1952, and confronting us with the gravitas of Clyfford Still's jagged edges and electrifying flashes of colour, Helter Skelter I demonstrates how Bradford harnesses the potential of abstraction for his own agenda.

Carol Rhodes is well known for her dream - like aerial landscape paintings of edge - lands and semi-industrial landscapes collaged from real environments into fictional views that teeter on the brink of abstraction.

Scottish artist Carol Rhodes is well known for her dream - like aerial landscape paintings of edge - lands and semi-industrial landscapes collaged from real environments into fictional views that teeter on the brink of abstraction.

2001 Cleveland Artists Foundation, The Beck Center for the Arts, Cleveland, Ohio, «Harmonic Forms on the Edge: Geometric Abstraction in Cleveland» Gallery One, Washtenaw Community College, Ann Arbor, Michigan, «Color in the Eye»

But there's also Modern art at TEFAF — Alexej von Jawlensky's colorful 1913 canvasHead of a Woman, painted in a colorful expressionistic style, was on offer for $ 3.4 million at Galerie Thomas, from Munich; Surrealist Paul Delvaux's erotic rendition of female nudes in a dreamlike setting is at Salzburg's Thomas Salis Art & Design; Piet Mondrian's landscape painting of a house surrounded by trees from 1902, before the Dutch modernist discovered his signature style of geometric abstraction, is at Düsseldorf «s Beck & Eggeling; and Impressionist painter Pierre - Auguste Renoir's enchanting 1885 canvas Au Bord de L'eau (At the Water's Edge), which beautifully captures a woman rowing a boat on a rural lake, is priced at $ 12 million at Dickinson, of London and New York.

Opening: «Nassos Daphnis: Pixel Fields» at Richard Taittinger Gallery A Greek - American artist who showed with the celebrated Leo Castelli Gallery for 30 years, Nassos Daphnis was known for his hard - edged abstractions.

Yet, while Made in L.A. appeared as diverse and sprawling as the city whose art it presented, it might also be argued that the bulk of the work on view extended four familiar (and familial) lineages of Los Angeles art that were well represented in «PST»: hard - edge abstraction (represented here in paintings by Brian Sharp and Alex Olson and painterly objects by Lisa Williamson and Brenna Youngblood), found - object assemblage (in the work of Liz Glynn, Ry Rocklen, Henry Taylor, and Erika Vogt, among others), eclectic performance practices (including live pieces by Math Bass, Kenyatta A. C. Hinkle, and Ashley Hunt, as well as the collective Slanguage's array of community - based works at LAXART), and film and video projects that pointed, more or less, to the looming shadow of Hollywood (e.g., Miljohn Ruperto's Seven and Five, 2012, which includes multiple remakes of a 1961 episode of the TV show Alfred Hitchcock Presents, and Dan Finsel's The Space Between You and Me, 2012, for which the artist restaged Farrah Fawcett and Keith Edmier's decade - old roll in the clay).

American painter Frederick Hammersley (1919 — 2009) is best known for his hard - edged geometric abstractions.

«Benjamin was one of four artists in the landmark 1959 exhibition at the Los Angeles County Museum of Art that coined the term «hard - edge painting,» now in common usage for geometric abstraction that relies on color as a primary subject.

STATEMENT My practice for the past 15 years has been concerned with aspects of intuitive abstraction which incorporates hard edge and organic abstraction as well shifting methodologies of mark making and spatial narratives that are situated within paintings, collages, photographs, objects, Marquette's, books, films, wall paintings and works on paper.

Organized as part of the Shiseido Art Egg Prize for artists in their 20s and 30s, Shunsuke Imai «s exhibition of colorful, hard - edged abstractions at the Shiseido Art Gallery achieved a spatial resonance that is exceedingly rare among young Japanese painters, distorting the atmosphere of the gallery itself through dizzying combinations of eye - popping yellows, pinks, blues, whites and blacks arranged in billowing, flag - like stripe patterns that grudgingly squeezed into the two - dimensional plane of the canvas.

The images challenge the notion of how to make a line or create a new posture for flattened space or abstract composition, swivelling from geometry to gesture, propelling representation and language into abstraction, exploring pictorial edges and boundaries as well as the constitutive or disruptive role of blank space,.

Traveling to the Museion, Bozen, Italy 6th Prague Biennale, Prague, Czech Republic Less Like an Object, More Like the Weather, Hessel Museum of Art, Bard Center for Curatorial Studies, Annandale - on - Hudson, New York, USA Edge, Order, Rupture, Galerie Lelong, New York, USA Pasión II, Centro de Arte Contemporáneo, Málaga, Spain NYC 1993: Experimental Jet Set, Trash and No Star, New Museum, New York, USA Yale University Art Gallery, New Haven, Connecticut, USA The Bigger Picture, The Artist's Institute, New York, USA, curated by Haim Steinbach Abstraction Manifeste, Le Quartier, centre d'art contemporain de Quimper, France Geometric Abstraction, Pace Prints, New York, USA

Note: For developments among American abstract expressionists, during the period 1955 - 65, read about Post-Painterly Abstraction, and its individual schools such as Colour Field Painting (involving Clyfford Still, Mark Rothko, Barnett Newman, Helen Frankenthaler and others), and Hard - Edge Painting (Ellsworth Kelly, Frank Stella and others).

«One need only consider Abstract Expressionism, for just a moment, as just another style to see with a great deal of clarity that, in the Post World War II period, geometric abstraction, or op art, or hard edge painting, or whatever you want to call it was, in fact, the dominant global idiom of that era, the true cosmopolitan language of art.

It may sound silly to declaim yet again the death of abstraction, although no more silly than to look to it for the cutting edge.

Novros» composition of abstract forms and intervals has both a sensuality and deeply personal quality that goes far beyond any associations one might have for hard - edged, geometric abstraction.

«You might want to check out nearby Cristin Tierney Gallery for «Hard Edge,» a group exhibition exploring the legacy of hard - edge abstraction and how it functions in the current critical discourse — the show is full of bold and interesting painters that I'm interested in getting know better.&raEdge,» a group exhibition exploring the legacy of hard - edge abstraction and how it functions in the current critical discourse — the show is full of bold and interesting painters that I'm interested in getting know better.&raedge abstraction and how it functions in the current critical discourse — the show is full of bold and interesting painters that I'm interested in getting know better.»

Anyone at all interested in painting might want to start with the early 20th century in Mayfair and move to Wharf Road for more recent work, witnessing the abundantly various approaches to abstraction over time — conceptual, geometric, gestural, hard - edged, romantic, numinous, optical, comic.

For this viewer, the tartan abstractions work best when the composition remains informal, seemingly arbitrary, and leaves all the edges of the canvas without reference to a solid color background or a formal symmetry.

How did Ward arrive at making hard - edge geometric abstraction in the early 1960s and what territory did he specifically stake out for himself?

He extends the vocabulary of geometric and hard edge abstraction through an engagement with sculptural forms and architecture to exploit time and duration in order to create an unfolding contemplative experience for the viewer.

«More hard - edged and conceptual abstraction is represented by two solo shows: Michael Zahn at Eleven Rivington (May 28 to July 3) is known for monochromatic canvases in synthetic colors that resemble commercial stationery, while Alix Le Méléder at Galerie Zurcher (June 11 to July 23) makes repeating marks in the corners of small white canvases.

Even an art school can suffer from overly - conceptual web design that sacrifices straight - forward navigation for abstraction or cutting - edge tricks.