Sentences with phrase «exhibition of abstracted landscape»

Not exact matches

The intimate exhibition showcases a selection of Adnan's abstract landscapes alongside a small reading room.

«It is the excitements of this conjunction between a Romantic nineteenth - century Briton and an abstract expressionist twentieth - century American that the exhibition seeks to evoke, revealing the fellowship that the two artists share in paint across their temporal divide, and the vibrant correspondences which uncover something of the timeless cerebral foundations of landscape art.

The exhibition will debut a 16 - foot glazed ceramic wall panel depicting a nocturnal landscape engulfed in flames, as well as a new series of abstract landscapes made from burned paper.

Highlights of the exhibition include a Katharina Fritsch sculpture of a bright orange octopus; two complex new abstract paintings by Terry Winters completed this summer; a Robert Gober sculpture of a sink sprouting contorted children's legs; new portrait and landscape photographs from Paris and New York by Nan Goldin; a Martin Honert sculpture based on his childhood drawings of toy soldiers; a large - scale painted white relief by Charles Ray of his two nephews; and a photograph of Germany's largest soccer stadium by Andreas Gursky.

through May 25th Julie Langsam This exhibition features several recent paintings from Langsam's long - running series of banded montages that set nearly monochromatic, tightly rendered views of iconic modernist buildings on top of a band of gridded abstract motifs inspired by classic modernist paintings and beneath ominously lit skies that invoke Romantic landscape painting.

Other artists create abstract landscapes that bring a different and necessary vocabulary in an exhibition that tries to address such a wide and contradictory array of topics and perspectives, from personal desires and dreams to historical processes.

The exhibition's underlying mission is a compelling one: to inspire a close inspection and fresh discussion of two seemingly disparate topics — contemporary abstract painting by a New Orleans - based artist and Edo - period Japanese landscapes — using visual and conceptual links to form an effective springboard for joint exploration.

The Permanent Collection exhibition features a selection of landscape, figurative, and abstract work produced using a variety of traditional and modern processes.

This exhibition features several recent paintings from Langsam's long - running series of banded montages that set nearly monochromatic, tightly rendered views of iconic modernist buildings on top of a band of gridded abstract motifs inspired by classic modernist paintings and beneath ominously lit skies that invoke Romantic landscape painting.

The exhibition consists of a series of abstracted «invented landscape» paintings, presented in the downstairs gallery.

With more than 30 major paintings, the exhibition follows Aho on his artistic journey from dramatic images of the New England landscape to energetic, freely brushed abstract compositions inspired by his responses to nature.

The exhibition includes several series of nuanced abstract paintings and works on paper that are philosophically attuned as well as steeped in the landscapes with which she is familiar.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquExhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquexhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquExhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

The exhibition traces the evolution of Michael Goldberg's work from the early cubist inspired drawings of the 1940s to the monumental nonobjective paintings of the early 1960s and the abstracted landscapes and still - lifes of the mid - to late «60s, the monochromatic paintings of the 1970s and ending with his use of grids in the 1980s.

Since 2003, his work — better described as abstract landscapes — has been the object of various solo shows and group exhibitions all over the world, including Vienna, Houston, Beirut, and South Korea.

In this exhibition of new works on paper and panel, the artist uses a combination of hand dyed paper, oil, ink and watercolor to create abstract landscapes.

The exhibition features the abstract expressionist work of Bilotta and the landscape paintings of Franklin.

It was through this exhibition that he first showed his «fake sculptures», a series of shaped - canvases that first appear to be solid sculptures but are actually paintings that present abstract forms suggesting animals, plants and landscapes.

This multi-media exhibition features work ranging from soft sculpture, to abstract color field paintings to landscapes of human bacteria.

This exhibition entitled, Tribute, will feature recent wall - mounted bronze castings of Texas's plant life conceived by the artist's own imagination as abstract landscapes — forests, meadows and meanders.

In the new body of work presented in this exhibition, landscape replaces abstracted human figures as the building blocks for the artist's work.

Published on the occasion of Richter's major touring exhibition in Europe, this landmark publication encompasses his entire oeuvre, now stretching across more than a half - century of activity, including photo - paintings, abstracts, landscapes and seascapes, portraits, glass and mirror works, sculptures, drawings and photographs.

This year's exhibition, «Renoir: Between Bohemia and Bourgeoisie: The Early Years» completely changed by opinion on Renoir, a painter whom I had previously deemed a bit too pink, saccharine and nostalgic for me surprisingly did some of his best work from the mid 1860s to the early 1870s, including a stunning Japonais Still Life with Bouquet and almost abstracted, breathing landscape L'Allée au Bois.

This exhibition entitled, Tribute, will feature recent wall - mounted bronze castings of Texas's plant life conceived by the artist's own imagination as abstract landscapes --

is an exhibition of assemblage sculptures and abstract landscape paintings by Fellowship artist Elizabeth Hoy.

Included in this exhibition are Charles Geiger's quasi-botanical, biomorphic landscapes that evoke primordial life and ancient rituals, as well as Melinda Hackett's intricately detailed paintings and prints of fantastical, abstract naturescapes.

Known for his use of rice paper and bamboo, Jacob Hashimoto's current exhibition at Leila Heller Gallery explores abstracted landscape.

Diverging from her food - centered paintings, spotlighted in her previous solo exhibition at the gallery, All U Can Eat, her new works feature abstracted landscapes grounded in an engagement with early modernism and an exploration of color relationships.

Though the exhibition will open in June with Blue Umbrella, a famous portrait of Ada that Rooks sees as Katz's Mona Lisa, it focuses on landscapes, including the more abstract pieces painted over the past ten years.

Spanning a wide range of mediums, the exhibition features more traditional studies of light — such as the delicate landscape paintings of English artist LS Lowry RA, and more abstract works such as Anish Kapoor RA's reflective installations.

Several artists navigate directly the main thematic map of the exhibition; others chose a more personal approach, looking at the presence of domestic workers in households, the public sphere, and the artists» lives, while another group of artists create abstract and poetic landscapes that bring a different and necessary vocabulary in an exhibition that tries to address such a wide and contradictory array of topics and perspectives, from personal desires and dreams, to historical processes.

The evolution of Bywaters» career is demonstrated in the exhibition with examples of his earliest work — created just after his 1927 graduation from SMU and reflective of his travels to France, Spain and Mexico — through abstract landscapes created in the 1970s.

The exhibition will feature a diverse collection of abstract iconic American images, ranging from motorcycles and landscapes to Civil War and Native American themes, exploring current and historical political issues.

The comprehensive exhibition includes rare examples of the artist's early work from the 1920s and 1930s; a seminal cityscape from the 1950s; significant works from his first years in East Hampton (1960s); and abstract landscapes from the 1970s and 1980s.

That alluring, fleeting, and familiar moment of sunset, when the sun seems to touch the horizon and dissolve into the west, when a soft light bathes one's surroundings with gentle hues, was the subject of the abstracted landscape paintings on wood and wall - mounted mixed - media objects in Felipe Cohen's exhibition «Ocidente» (West).

There were three kinds of works in Beatrice Caracciolo's recent exhibition: exquisitely animated abstract expressionist drawings; others that look more like landscapes (and which introduce art - historically familiar material in the form of allusions to Chinese landscape and Japanese calligraphy), and unexpectedly bold suspended or freestanding sculptures comprised of zinc sheets mounted on wooden substructures.

The Gallery's exhibition will include examples of the artist's early abstract works, as well as his later landscape paintings.

Structured as a non-linear narrative of painting, sculpture, video and site - specific installation, the exhibition fantasizes the cultural aftermath of the colonization of Mars, establishing an abstract link between the politically stuck and contradictory state of the present - day Earth and the physical reality of the Martian geographical landscape.

A large part of this exhibition focuses on large tarp - like works composed of un-stretched canvas which simulate aerial views of rural landscapes, abstracted and made of repetitive and diligent mark making.

Art patron Peggy Guggenheim famously attended an exhibition opening wearing an unlikely pair of earrings: a small abstract work by Alexander Calder in one ear and a miniature Surrealist landscape painting by Yves Tanguy in the other.

As Wherever, the title of her first New York solo exhibition in nine years suggests, Eva Lundsager paints abstracted iconic landscapes whose imagery lingers somewhere between familiar and otherworldly.

In Conversation: June Schwarcz and John Chiara, and Wanxin Zhang: a Ten - Year Retrospective: The Richmond Art Center's unlikely conjunction of the doyenne of abstract enamel work, an ambitious landscape photographer and a ceramic sculptor produced one of the year's most surprising and satisfying exhibitions.

The exhibition, Landscape: Natural Fit, Imagined Prospects examines traditional, abstract and mixed - media explorations of landscape as genre, place, and possibility.

«Scrolls, Ladders, Books & Rings» is the title of this exhibition by Hazel Frankel, whose abstract works combine collage, painting and the calligraphic mark, often suggesting huge landscapes and cityscapes in the process of destruction.

The exhibition will explore their shared fascination with light, landscape, the sublime and mythology as well as the painterly qualities of their work, whether as makers of figurative or abstract images.

Continuing the «Artists as Curators» series this week, let's look at «The escape from the banal of everyday life to the world of the ideal,» an exhibition at NURTUREart curated by Brooke Moyse, a Brooklyn - based abstract painter known for vivid color and casual landscape imagery.

Best known for her immersive installations and public projects that explore the various historical and psychological implications of the genre of landscape, Teresita Fernández's most recent exhibition at Lehmann Maupin, Fire (America), debuts a 16 - foot glazed ceramic wall panel depicting a nocturnal landscape engulfed in flames, as well as a new series of abstract landscapes made from burned paper.

Lévy Gorvy is pleased to present the first exhibition ever to pair the abstract landscapes of Chinese - French...