Sentences with phrase «edged abstractions by»

Hard - edged abstractions by Ad Reinhardt, Piet Mondrian and Josef Albers huddled together and a 1946 Clyfford Still brushed incongruously against Sherrie Levine's Untitled (White Knot: 9)(1986).

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

Not exact matches

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.

«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.

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..

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.

At Weiss Berlin, four beautiful soft - edged abstractions made since 1980 by Edward Clark.

A hard edge geometric abstraction by an unknown American artist created around 1960.

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-...]

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.

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.

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.

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

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.

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.

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.

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.

The cozy NEWD Art Show, on Johnson Avenue, featured the Lower East Side gallery Regina Rex, which displayed several of Hannah Barrett's playfully deviant folk - arty takes on the traditional portrait and still life; Greenpoint's 106 Green, an artist - run space showing gently noirish figurative paintings by Beijing - raised Xinyi Cheng; and Greenpoint Terminal, offering Eric Shaw's meticulous but sardonically wobbly hard - edge abstractions.

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.

The depiction of robotic parents gazing at their equally robotic newborn, keyed to a bubblegum palette, looked to be some kind of retro pastiche combining Cubist impulses, hard - edge abstraction, folk art and futurism as practiced by DC comics circa 1963.

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.

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 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.

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.

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.

However, his rejection of the expressive brushwork employed by other abstract expressionists such as Clyfford Still and Mark Rothko, and his use of hard - edged areas of flat color, can be seen as a precursor to post painterly abstraction and the minimalist works of artists such as Frank Stella.

An exhibition featuring cross-generational artists whose works in contemporary abstraction investigate the seams, tears, and edges between two and three dimensions curated by Louis Grachos, Executive Director of The Contemporary Austin, and Stephanie Roach, Director of FLAG

Group exhibitions focus on German Expressionists (Galerie St. Etienne), Masterworks of Egg Tempera (ACA Galleries), Latin Americas Abroad in the Sixties (Adler & Conkright Fine Art), Hard - Edge Abstraction at Mid Century (Valerie Carberry Gallery), James Abbott McNeill Whistler and Artists Influenced by Him (Thomas Colville Fine Art) and more.

Post-painterly abstraction encompasses a broad group of American painters who reacted to Abstract Expressionism, either through the pursuit of Hard - edge abstraction or by creating open compositions of washes and poured areas of color.

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.

«Inter Weaving», Tayloe Piggott Gallery, Jackson, WY Gebert Contemporary, Santa Fe, NM «Papierwelten II», Galerie Renate Bender, Munich, Germany 2012 «Paper and More», Curated by Renate Bender, QuadrART, Dornbirn, Austria 2011 «Breathing», The Sylvia Wald & Po Kim Art Gallery, New York, NY 2010 «1960s Revisited», David Richard Gallery, Santa Fe, NM 2010 «The Responsive Mind», Madron Gallery, Chicago, IL 2009 International Women Artists» Biennale at Incheon, Korea, Curated by Soojung Hyun 2008 «The Winter Salon — Works on Paper», Bjorn Ressle Gallery, New York, NY «New American Abstraction 1960 - 1975» Gary Snyder Project Space, New York, NY 2007 «Papierwelten» Galerie Renate Bender, Munich, Germany «Optic Nerve: Perceptual Art of the 1960s» Curated by Joe Houston, Columbus Museum of Art, Columbus, OH «Optical Edge», Curated by Robert C. Morgan, Pratt Institute Gallery, New York, NY 2006 «Honest Echo», Curated by J. Grace Rim, 2X13 Gallery, New York, NY 2005 «Neutral», The Lab Gallery at Roger Smith, Curated by Robert C. Morgan, New York, NY «Papier = Kunst 5» Neuen Kunstvereins Aschaffenburg, Germany «Horsefeathers Etc..»

Abstraction,» implies that no single modifier of «abstraction» will suffice to characterize a currently dominant trend; reductive, gestural, and hard - edge proclivities are represented by accomplished mid-careeAbstraction,» implies that no single modifier of «abstraction» will suffice to characterize a currently dominant trend; reductive, gestural, and hard - edge proclivities are represented by accomplished mid-careeabstraction» will suffice to characterize a currently dominant trend; reductive, gestural, and hard - edge proclivities are represented by accomplished mid-career painters.

After studying in New York and Paris, Al Held began his painting career by exhibiting Abstract Expressionist works in New York; he later turned to hard - edged geometric paintings that were dubbed «concrete abstractions».

The looseness afforded by the materials and techniques of the black and white abstractions encourages the artist to expand his strokes to the outer edges of the paper in «all - over «compositions.

Biography: After a period of quasi-impressionism in her formative years, by 1960 and approaching her late - twenties, Riley settled into a dynamic style of hard - edged abstraction with, often, wild optical properties.

After a period of quasi-impressionism in her formative years, by 1960 and approaching her late - twenties, Riley settled into a dynamic style of hard - edged abstraction with, often, wild optical properties.

The most significant of the often loosely defined movements of early contemporary art included pop art, characterized by commonplace imagery placed in new aesthetic contexts, as in the work of such figures as Andy Warhol and Roy Lichtenstein; the optical shimmerings of the international op art movement in the paintings of Bridget Riley, Richard Anusziewicz, and others; the cool abstract images of color - field painting in the work of artists such as Ellsworth Kelly and Frank Stella (with his shaped - canvas innovations); the lofty intellectual intentions and stark abstraction of conceptual art by Sol LeWitt and others; the hard - edged hyperreality of photorealism in works by Richard Estes and others; the spontaneity and multimedia components of happenings; and the monumentality and environmental consciousness of land art by artists such as Robert Smithson.

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.

By highlighting the artists» individual approaches to form, color, composition, material exploration and conceptual impetus within hard - edge and gestural abstraction, Magnetic Fields provides an expanded history of non-pictorial image - and object - making.

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.

At the same time, the American scene was equally hostile to us because if, as we thought, to make an authentic gesture without any a priori idea of how it would turn out, was the real gambit, then everything — «hard - edge» abstraction with its ideology, Social Realism with its ideology, regionalism with its ideology, landscape painting with its sentimentality, portrait painting with its class background, anything you could imagine — was equally threatened by our premise.

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.

In addition to growing a visual language (influenced by comics, medieval painting, and hard - edged abstraction), she also seeks the combustion that happens when intellect and imagination are combined.

In Einarsson's paintings the authoritative stance once required of hard - edged abstraction is usurped by subtle distortions of form and painterly accidents.

He held fast to his belief in a universal language, choosing to explore various modes of abstraction before settling into a hard - edge geometry leavened by subtle tweaks to shapes and their placement and often lyrical color.

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.

A few of the images are anchored at their bottom edge by urban landscapes — buildings, antennae, branches — while others are centered on the glare itself as it dissolves into abstraction.

Was the «hard - edged abstraction» pursued by Robin Denny and William Turnbull a leap into the future or a dead end?

Organized by Peter Pakesch, chairman of the Maria Lassnig Foundation in Vienna, and Paul Schimmel, the former Museum of Contemporary Art chief curator and now a partner in the gallery, the survey shows Lassnig (1919 - 2014) dredging the best out of hard - edged abstraction, gestural expressionism, cartoon figuration and lumpen self - portraiture.