Sentences with phrase «edged abstraction of»

He was fascinated by colour and texture, and his expressive brushstrokes, which emulate post-Impressionist artists such as Vuillard, Bonnard, and Cézanne, are juxtaposed with the rigidity of the grid that echoes the hard - edged abstraction of Malevich, Mondrian and Albers.

The effect recalls the hard - edged abstraction of the 1960s or the unusual geometries of a funky Mary Heilmann.

Inspired by the hard - edged abstraction of Frank Stella and the shaped supports of Ellsworth Kelly, Parazette builds his paintings meticulously by adding layer upon layer of acrylic until each plane of color is flawless, its edges accentuated with precise pin stripes.

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.

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....

Formal works employ color as an essential compositional device, as can be seen in the hard - edged abstractions of Daniela Marin (B.F.A., painting, 2015), the fiber works of Emma Balder (B.F.A., painting, 2012) and the patterned paintings of Tom Francis, SCAD painting academic program coordinator.

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.

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

Miami Vice is Mann's usual triangulation of Nietzsche, linen - edge designers like Ozwald Boateng and distinguished painters of geometric abstraction, like the great Richard Diebenkorn.

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.

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.

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

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.

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.

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

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.

Herrera paints or draws daily even now, and her work has remained an exhilarating example of hard - edged abstraction.

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

«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.

Richter has pulled off abstraction, but with a squeegee, and photorealism, but blurred to the very edge of legibility, and one hardly knows which to call more emotionally laden or detached.

I had to think of the implied split between abstraction and the art world, painted edges and the cutting edge.

Traveled to Wriston Art Center / Lawrence University Appleton, WI Shoshana Wayne Gallery «The Ends of Painting: The Edges of Abstraction» curated by David Pagel (catalogue) Santa Monica, CA 1989 Knoedler & Co..

His diverse painting practice weaves together impulses of minimalism and hard - edge abstraction with those of the California Light and Space movement, to forge an entirely singular creative vision.

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.

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.

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 field.

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.

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..

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.

Together, the paintings and cloths ricochet between abstraction and performance, suggesting a violence whose vast scope hovers at the edge of imagination.

Associated with Op Art, Hard - edge painting, Color Field painting, Lyrical Abstraction and Abstract Expressionism, Poons has challenged critical expectations throughout his career, transitioning through several distinct phases of work.

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.

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 article.

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.

Sadie Benning and Julia Rommel connect with the hard - edge color - field abstraction of the 1960's, pushing outward against the edges of the canvas through their innovative use of materials.

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.

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

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 - 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.

1990 TIME, A Portfolio of Etchings, Marc Richards Gallery, Santa Monica, CA The Ends of Painting / The Edges of Abstraction, Shoshana Wayne Gallery, Santa Monica, CA 1990 Phoenix Triennial, Phoenix Art Museum, Phoenix, AZ Past & Present, RosamundFelsen Gallery, Los Angeles, CA Eastern Aesthetic, Allport Gallery, San Francisco, CA