Sentences with phrase «edged abstraction in»

She would go on to embrace hard - edged abstraction in the same decade.

She painted hard - edged abstraction in the 1960s, with some of very first examples of computer - assisted design in painting.

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.

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.

Artists representing various movements and geographical backgrounds are all there: Cubist, Dada, and Russian avant - garde artists of the 1910s and 1920s, with their images of flat, intersecting planes and floating shapes; artists associated with Minimalism, Op art, and hard - edge abstraction in the 1960s and 1970s, whose primary interest lay in the investigation of reductive form and color; and contemporary artists who continue to exploit the infinite potential of simple geometries.

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.

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.

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.

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 abstraction.

«Painterly Pasted Pictures» an exhibition of 20th century painters of collage curated by E. A. Carmean Jr. @ Freedman Art, New York, NY 2013 «Color & Edge» with Lauren Olitski Poster and Ann Walsh @ Sideshow Gallery, Brooklyn, NY 2012 «Extreme Possibilities: New Modernist Paradigms» The Painting Center, NYC, NY curated by Karen Wilkin 2009 «Direct Sculpture: A Dialogue in Polymers», Student Union Gallery, Univ. of Massachusetts Amherst, Amherst, MA 2006 «Greenberg in Syracuse; Then and Now», Company Gallery, ThINC, Syracuse NY 2005 «Studies in Abstraction: Lauren Olitski, Susan Roth, and Ann Walsh», curated by Wendy S. Evans, Student Union Gallery, Univ. of Massachusetts, Amherst, 2005 «Rural Artists / Urban Sensibilities», C. W. White Gallery, Portland ME 2003 «The Clement Greenberg Collection», Joe & Emily Lowe Gallery, Syracuse, NY 2003 «Clement Greenberg, A Critic's Collection», Portland Art Museum, Portland, Oregon 2001 «The Mirvish Teaching Collection», Agnes Ethrington Gallery, Queens University, Kingston, Ont.

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.

Color field painters efface the individual mark in favor of large, flat, stained and soaked areas of color, considered to be the essential nature of visual abstraction along with the actual shape of the canvas, which Frank Stella in particular achieved in unusual ways with combinations of curved and straight edges.

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.

In St. Augustine, I painted an asymmetrical, emotionally intense, abstraction that combined several styles and expressions in one picture; hard edge borders, hard edge lines, stacks of painterly brushed smears, on a deep red fielIn St. Augustine, I painted an asymmetrical, emotionally intense, abstraction that combined several styles and expressions in one picture; hard edge borders, hard edge lines, stacks of painterly brushed smears, on a deep red fielin one picture; hard edge borders, hard edge lines, stacks of painterly brushed smears, on a deep red field.

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..

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-...]

[33] Lyrical Abstraction, Conceptual Art, Postminimalism, Earth Art, Video, Performance art, Installation art, along with the continuation of Fluxus, Abstract Expressionism, Color Field Painting, Hard - edge painting, Minimal Art, Op art, Pop Art, Photorealism and New Realism extended the boundaries of Contemporary Art in the mid-1960s through the 1970s.

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.

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.

The term came to refer to the work of artists who playfully flirted with Op art, Minimalism, and geometric abstraction with an emphasis on transcendentalist levity, boundary - dissolving luminescence, and — in place of New York Minimalism's hard - edged industrial materials — an embrace of cutting - edge space - age fabrication methods.

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

In 2014 they set up two exhibition spaces, Art House in Santa Fe and Orange Door in Chicago, where they display the four distinct areas of their collection: Spanish Colonial, Japanese Bamboo, Post-War Painting and Sculpture (notably color field and hard - edge abstraction), and Digital and Electronic Art, which is the focus of this articlIn 2014 they set up two exhibition spaces, Art House in Santa Fe and Orange Door in Chicago, where they display the four distinct areas of their collection: Spanish Colonial, Japanese Bamboo, Post-War Painting and Sculpture (notably color field and hard - edge abstraction), and Digital and Electronic Art, which is the focus of this articlin Santa Fe and Orange Door in Chicago, where they display the four distinct areas of their collection: Spanish Colonial, Japanese Bamboo, Post-War Painting and Sculpture (notably color field and hard - edge abstraction), and Digital and Electronic Art, which is the focus of this articlin Chicago, where they display the four distinct areas of their collection: Spanish Colonial, Japanese Bamboo, Post-War Painting and Sculpture (notably color field and hard - edge abstraction), and Digital and Electronic Art, which is the focus of this article.

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.

The work on view begins, chronologically, with hard - edged abstraction, which yields to the more gestural «shimmer» paintings that succeeded it before moving on to the dense, messy (in a charming way) expressiveness of the present (Williams works in New York and Connecticut).

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.

Her painting, with its hard edges, shifting planes and saturated hues, is geometric abstraction in a modernist vein.

This documentary explores a critical decade in American life, when an explosion of artistic energy produced Pop art, Minimalism, Color - field painting, and hard - edged abstraction.

In the paintings I've been making in the last five years, the «Scenic Abstractions,» the attitude of a shape is indicated by its edges; how well it gets on with its neighbors and its surrounding environment is knowable by the texture of its borders — if it is rough or refined, feathered, blended, or hard - edgeIn the paintings I've been making in the last five years, the «Scenic Abstractions,» the attitude of a shape is indicated by its edges; how well it gets on with its neighbors and its surrounding environment is knowable by the texture of its borders — if it is rough or refined, feathered, blended, or hard - edgein the last five years, the «Scenic Abstractions,» the attitude of a shape is indicated by its edges; how well it gets on with its neighbors and its surrounding environment is knowable by the texture of its borders — if it is rough or refined, feathered, blended, or hard - edged.

A majority of the works in the show are hard - edge geometric abstractions, many of their forms and their relation to pictorial space arrived at with the help of early computer programming and projection techniques.

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.

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

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.

The fact that Mr. Noland, a pioneer of Color Field painting in the 1960's, works in series and in a usually Minimalist mode of hard - edge abstraction sometimes brings the curse of formula to his compositions.

In a market moment obsessed with the often - spurious aesthetic innovations of its youngest artists, Honor Fraser's booth provided a welcome measure of historical perspective, showing paintings by fresh - faced stars (bent canvases by Kaz Oshiro, KAWS's latest abstractions, a big Sarah Cain) alongside some pretty cutting - edge compositions that turned out to be by — shocker — a bunch of supposedly tame midcentury names.

Whereas the forms of his wooden panel paintings feature the careful precision and hard - edges of geometric abstraction, the imperfections and «accidental noise» innate in Biltereyst's cardboard relief prints appear exploratory and rapidly configured, expressing not only the raw energy of creative problem - solving usually revealed in artists» preparatory sketches, but also an interest in graphic elements battered by everyday use, exposure and interaction.

Overlapping planes have the jagged or curved edges of the transition to abstraction in Fernand Léger and Francis Picabia.

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 expressionisIn 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 expressionisin artist studios and in radical avant - garde circles as a reaction against the subjectivism of abstract expressionisin radical avant - garde circles as a reaction against the subjectivism of abstract expressionism.

In 1966, Alloway curated the influential Systemic Painting exhibition that showcased geometric abstraction in the American art world via Minimal art, Shaped canvas, and Hard - edge paintinIn 1966, Alloway curated the influential Systemic Painting exhibition that showcased geometric abstraction in the American art world via Minimal art, Shaped canvas, and Hard - edge paintinin the American art world via Minimal art, Shaped canvas, and Hard - edge painting.

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.

When I began to show my work with David Whitney in 1969, I was painting stained abstractions, bordered by bands of color painted on the edges.

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.

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).

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.

The shapes in his acrylic hard - edge geometric abstractions are neat, their colors beautiful and harmonious, their juxtapositions perfectly contiguous.

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.