Sentences with phrase «explores figuration and abstraction»

In his major four - panel postcard painting I Kandinsky (2012), the artist explores figuration and abstraction through vivid colors, lines, curves, and a planar composition, as if in an homage to Kandinsky.

Not exact matches

Through exuberant works that sometimes engage the heroic gesture or make use of pop imagery, artists explored the traditions of figuration and history paintings and offered new interpretations of abstraction.

The exhibition was a miniature retrospective, beginning with works from the late 1960s, when Dodd, like a number of her artist friends and coevals, including Alex Katz, reacted against the dominance of abstraction by beginning to explore a plainspoken, forthright brand of figuration.

Spanning painting, sculpture, photography, performance, and installation, Dan Colen's oeuvre explores the tensions between figuration and abstraction, the abject and the sublime, the timely and the timeless.

«RASHID JOHNSON: Anxious Men» @ The Drawing Center New York, N.Y. Over the past 15 years or so, Rashid Johnson «s practice has explored a range of themes, including «the black experience in America, the dialogue between abstraction and figuration, and the relationship between art and personal identity.»

Matthew Chambers is a Los Angeles - based painter whose colourful and bold works explore the boundary between abstraction and figuration as well as the act of painting itself.

This catalog, another first, documents the Nasher show, a 10 - year survey exploring the arc of her practice which has evolved from a more painterly style to decidedly emphatic approach, mixing figuration and abstraction with a riot of bold color, symbols, and meaning.

Dunham has long resisted prevailing stylistic trends and consequently carved out a space for American painters to explore the possibilities of blending both abstraction and figuration.

Merz is concerned, rather, with the opposition, or the adjacency, of figuration and abstraction, and with the parallel practice of exploring diverse media.

Explore Lee Krasner's journey from figuration to abstraction through close looking at two of her works: Self - Portrait (1930) and Untitled, from the Little Images series (1948) in this gallery talk by Jenna Weiss, Manager of Public Programs.

Rezi van Lankveld (b1973, Almelo, The Netherlands) is known for exploring the tensions between figuration and abstraction in her fluid, painterly paintings.

This was a monumental painting that incorporated many of the themes she would continue to explore during her career and which brilliantly integrated painterly figuration and mathematical abstraction, something Bartlett has continued to do throughout her career, moving back and forth effortlessly between the two.

However, for the six artists included in this exhibition the figure was still an evocative form or symbol to explore and they believed that abstraction and figuration need not be mutually exclusive.

Matthew Chambers is a Los Angeles - based painter whose colourful and bold works explore the shifting boundary between abstraction and figuration as well as the act of painting itself.

Further evolution of these Inpaintings led to the creation of pieces, specifically designed to explore the borders between abstraction and figuration, like Two Women at Table.

She experiments with figuration and abstraction, exploring themes around pop culture, technology, and traditional painting.

Since the 1970s Merz has explored and expanded upon the threshold between abstraction and figuration in her mixed media works on paper, expressionistic clay heads and larger sculptural installations.

Often through exuberant work that engaged with heroic gesture or pop imagery, artists explored the traditions of figuration and history painting and offered a new interpretation of abstraction.

Rather than approaching abstraction and figuration separately, the exhibition will integrate these genres to explore the continuous slippage between the two.

«Mondrian and Colour» explores Mondrian's (1872 — 1944) practice, tracing his use of colour from figuration to early abstraction.

Charles Mayton is New York - based contemporary artist, whose paintings combine the abstract and the schematic, exploring the questions of time, language and performance in painting, straddling abstraction and figuration.

In her often large - scale works, Alejandra Seeber (* 1968, Buenos Aires, BR, lives in New York, US) explores the diverse possibilities of painting in between figuration and abstraction.

He has often oscillated between abstraction and figuration, always with a conceptual base, and increasingly is exploring the differences between representation in western and non-western cultures.

Ted Gahl's paintings ambitiously explore the territory between the extremes of figuration and abstraction.

Moving between figuration and abstraction, Gorky's paintings explore the possibilities of line and geometry, slicing up drippy, thinly painted color fields with amorphous forms.

Without putting their finger on any one style, each artist explores the depths of the differences between referentiality and materiality, figuration and abstraction, addition and negation.

Through the work of five artists, the show explores the tension between figuration and abstraction, delicately balanced through the use of different mediums and often humorous expression of personal sensibilities.

His works explore an other - worldly space that spans abstraction and figuration.

With material as departure point, Lang's recent works explore the tensions between abstraction and figuration, and investigate space beyond the limitations of the human body through sculpture, reliefs, assemblage, paintings and collages.

In The Age of Ambiguity, the cultural icon explores abstraction and figuration within contemporary discourse.

An expansion of his previous body of work, Loss / Less walks the line between abstraction and figuration to explore the collision of our physical and digital identities.

They move between abstraction and figuration, exploring what is felt, known, learnt and lost in a disheveled attempt to capture and reveal the bodies» inner and outer states.

But, as with all of the artist's work, an innocuous starting point becomes a springboard for exploring compositional limits, and the malleable ground between figuration and abstraction.

Across it he explores the life of sculpture in the 1940s, 1950s and 1960s - the period of the display in our main galleries - as it oscillates between figuration and abstraction, between painting and sculpture and between black and white and colour.

Despite Apollinaire's advocacy, after 1913 - 14 Delaunay and Kupka did not pursue the idea of a «pure Abstraction» with rigour, if at all, preferring to explore the expressive potential of simultaneity in colour relationships in a way which drew them back to figuration.

This exhibition gathers two painters at the intersection of figuration and abstraction, exploring aqueous features, textures, and a mythology of water as a threshold to places that are familiar yet strange and new.

These sculptures, tapestries and works on paper mine a space between figuration and abstraction, exploring the human figure as a metaphor for transformation.

Like Calder, whose abstract stabiles make playful allusions to the natural and animal realm, Joel Shapiro explores the metamorphic possibilities of geometric figures and forms, referencing the human body, spirit and gesture as he merges figuration with abstraction.

[2] It is this complex relationship between abstraction and figuration, how each particular artist responded to these contending sensibilities, and the aesthetic relationships between these artists that this exhibition wishes to explore.

Philip Guston's Branch exemplifies his work from the period when the artist liberated himself from the confines of figuration and began to explore the boundless realms of abstraction.

His evolution as an artist is also somewhat paradoxical, making the debate between abstraction and figuration meaningless: during the time he spent in Paris with his wife, the artist Nancy Spero, in the late fifties and early sixties, he adhered to the ideas of abstract informalism of Michel Tapié or Jean Dubuffet, later moving towards spaces in which his art could explore the most traumatic realism.

The creative possibilities explored through photography were never richer or more varied than in the years between the First and Second World Wars, when photographers approached figuration, abstraction, and architecture with unmatched imaginative fervor.

Peri's primary mediums are drawing, sculpture and painting: three distinct bodies of work which explore the tension between line and volume, figuration and abstraction, and the question of tradition and influence in Modernism.

Beginning with drawing and a schema, he would build layers of abstraction to explore spirituality and eroticism through paint, altogether eschewing narrative content or figuration.

A master of computer animation with a gift for creating images and environments that hover on the boundary between abstraction and figuration, Burr has in recent years devoted himself to exploring the concept of an endlessly mutating labyrinth.

Often through exuberant work that engaged with the heroic gesture or pop imagery, these artists explored the traditions of figuration and history painting, and offered new interpretations of abstraction.

Scott continued to explore the space between abstraction and figuration, exploring primitive forms and motifs inspired by everyday life.

The art in this exhibition explore multiple dualities: the gesture and control, the past and the future, abstraction and figuration.

Consequently, Fire by Days 10 II ingeniously explores and expands the boundaries between abstraction and figuration: multiple body parts are discernible, and the presence of a woman emerges via the outward reaching red legs and arms.

The featured artists in the exhibition all explore the strategies of breaking up of the picture plane, focusing mostly on the point of the slip between the figuration and abstraction, placing the figurative compositions in an abstract context.