Sentences with phrase «field of abstract artists»

He taught at Black Mountain College and in New York City where he was a leading player in the crowded field of abstract artists.

Not exact matches

Additionally, Tyler's paintings are reminiscent of the work from past artists such as the simplified geometric grids of Piet Mondrian's later work, color field paintings of Mark Rothko and the early abstract expressionistic work by Philip Guston.

During the early to mid-1960s Color Field painting was the term for the work of artists like Anne Truitt, John McLaughlin, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Friedel Dzubas, Jack Bush, Howard Mehring, Gene Davis, Mary Pinchot Meyer, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Robert Goodnough, Ray Parker, Al Held, Emerson Woelffer, David Simpson, and others whose works were formerly related to second generation abstract expressionism; and also to younger artists like Larry Poons, Ronald Davis, Larry Zox, John Hoyland, Walter Darby Bannard and Frank Stella.

With the exception of Kelly, all of those artists developed their versions of painterly abstraction that has been characterized at times as lyrical abstraction, tachisme, color field, Nuagisme and abstract expressionism.

But like Elmer Bischoff and David Park, with whom he made the turn to figurative painting a few years later, Diebenkorn was asking questions that abstract expressionism couldn't always answer, even though, as the early works in the show at the Royal Academy (until 7 June) suggest, he was a loyal and talented disciple: the LA Times described him as «one of the most gifted artists in the American non-objective field».

Park Life Gallery proudly presents the work of a small group of artists that work in the field of both abstract and figurative.

Gilliam (born 1933) is a color field painter and lyrical abstractionist artist associated with the Washington Color School, a group of Washington, D.C. artists that developed a form of abstract art from color field painting in the 1950s and 1960s.

This transition towards abstract forms and shapes is best illustrated in Kandinsky's Study for Composition # 8, 1909, a turning point in the artist's vision, where recognizable forms — people, church towers, cupolas and hills co-exist with abstract shapes and pure fields of color.

Works by the earlier generation of artists represented in the show can be loosely situated within geometric abstraction and abstract constructivism, influenced by artists such as Piet Mondrian (1872 — 1944) and groups such as De Stijl (founded 1917) and the ZERO movement of the 1950s and 60s, as well as the American Colour Field painters.

The artist toys with the boundaries of the literal and the abstract while looking through the visible world, dissecting matter until it dissolves into immensely beautiful fields of color.

Jenkins's diaphanous streaks and gentle, fluid fields of color positioned him as an important figure in abstract expressionism, and he often exhibited in the same venues as Jackson Pollock and Willem de Kooning — artists who shared his instinctual working method.

Fire In The Field Feu Dans Les Champs is an original, one - of - a-kind abstract painting signed by artist Nathalie Gribinski.

Her pioneering, immediate approach widened the practices of abstract expressionists and went on to inspire Color Field abstract painters such as Morris Louis and Kenneth Noland and generations of future artists.

Works are encountered in an intimate experience that centres viewers as protagonists in what the artist describes as a «typographical texty field or a fXXXing forest of physically abstracted versions of my writing».

This exhibition proposes a new reading, emphasizing that the achievements of her training in the field of abstract painting did not disappear when her work turned to textiles, and that the artist addressed pictorial abstraction in a unique way, manifesting itself very quickly through an openness to spatial concerns.

While one of the most important artists of the postwar period and a pioneering figure within the field of abstract painting, Ryman's drawings, and their profound significance within his practice, have never been examined before in a focused exhibition.

«Von Allen began his four - decade career as an abstract expressionist artist in the 1970s,» she wrote, noting that he «established a deeply personal style in abstract form and symbolic themes, creating unusual textures in his works with dynamic fields of color and turbulent styles.»

His sophisticated paint handling allows the artist to be as abstract or realistic as he deems appropriate; the subject matter varies from foreshortened stacks of wood, to cracked and dried dirt - scapes, to WWII airplanes, to still - lives of tumbling bowls and complex fields of gray - scale circles.

For this exhibition, she created Earth Paintings, a series of nature inspired abstract works, including Wind and Crepe Myrtle Concerto (1973) which art historian Sharon Patton considers «one of the most Minimalist Color - Field paintings ever produced by an African - American artist.»

With a visual dialogue established initially by working illegally with spray paint, making large - scale murals and site - specific work without permission, the artist has developed a process of painting that crosses abstracted, ambient fields of colour and gesture with traditional typography, vivid corrupted language and appropriated slogans.

Elsewhere, a perfectly circular «bomb pond», made by an American bomb in a Cambodian rice - field, forms part of the photographic series «Takeo» (2009) by the young Cambodian artist Vandy Rattana, while an antique exhibit from the National Museum in Beirut was transformed into a fusion of metal, ivory, glass and terracotta by the bombs that fell there during the Lebanese civil war (1975 — 90) and thus given a new abstract beauty.

Sheila Girling, who has died aged 90, was an artist whose vibrant oils, watercolours, papercuts and collages were infused with a Modernist spirit and the vivid style of the American «colour field» abstract painters.

Among the works that did well were Lot 16, a charming small sculpture, one of three examples down in 1945 - 6, by David Smith, shown above, that sold for $ 220,000 (not including the buyer's premium) and had had a high estimate of $ 150,000; Lot 5, «Atantolone,» a gloss household paint on canvas of colored dots on a white field that sold for $ 170,000 (not including the buyer's premium), well over its high estimate of $ 120,000; Lot 14, a large 1943 painted wood and wire sculpture, «Constellation,» by Alexander Calder (1898 - 1976) that sold for $ 1,982,500 (including the buyer's premium), more than double its high estimate, and Lot 24, a larger Calder sculpture, «Trepied,» that sold near its low estimate for $ 1,542,500 (including the buyer's premium); Lot 20, a large and very interesting and abstract but not very colorful 1953 Francis Bacon (1909 - 1992), «Two Figures at a Window,» that sold above its $ 1.2 million high estimate for $ 1,542,500 (including the buyer's premium); Lot 27, «Tour III» by Brice Marden (b. 1938) that sold within its estimates for $ 1,487,500 (including the buyer's premium), tying the artist's record; Lot 41, «Grillo,» by Jean - Michel Basquiat (1960 - 1988) that sold for $ 1,102,500 (including the buyer's premium), also within its pre-sale estimates; and Lot 31, «Vierwaldstätte See,» a large black and white 1969 landscape by Gerhard Richter (b. 1932) that sold for $ 1,047,500 near its low estimate of $ 1 million.

Zombie Formalism, a term coined by Walter Robinson and fleshed out by Jerry Saltz, refers to the glut of look - alike, generic abstract field painting produced over the past few years by young, mostly male, artists.

Bridging the Harlem Renaissance, abstract expressionism, and other movements, Lewis is a crucial figure in American art whose reinsertion into the discourse further opens the field for recognition of the contributions of artists of color.

Because of abstract photography's numerous and versatile approaches, many artists from all fields of the arts can say they've produced some excellent examples of it.

It also disregarded Modern abstract artists» own acknowledgement of visual and contextual references outside of their field.

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.

The works of these artists do not represent a movement as much as a dramatic evolution of what has come to be thought of as «the field,» an often misunderstood term in the vocabulary of postwar abstract art.

Realized by Color Field artist Sam Gilliam, this unique painted work layers color, movement, and other abstract elements — meditating on both the relationship between shapes and colors as well as elements of a harmonious composition.

Sam Francis's untitled monotype composition signals the culmination of the artist's career - long investigation of abstract painterly procedures: the aggressively stroked red field and chance application of colorful drips and blots energize the surface of this broad horizontal frame, synthesizing the dynamism of Jackson Pollock's drip paintings and the powerfully reductive aesthetics of Color Field painting of the 1940s andfield and chance application of colorful drips and blots energize the surface of this broad horizontal frame, synthesizing the dynamism of Jackson Pollock's drip paintings and the powerfully reductive aesthetics of Color Field painting of the 1940s andField painting of the 1940s and 50s.

Our America includes works by artists who inflected American art movements since abstract expressionism; leaders in the fields of activist, conceptual, and time - based art; and many who began to express bicultural perspectives in the visual arts.

The Museum of Contemporary Art Chicago aims to canonise the Color Field painter Howardena Pindell as an activist artist dedicated to her era's social and political causes while equally committed to the serious art of abstract painting.

This may be a bit left field, but I was in London for Bernard Cohens breakfast at the Tate Britain, where I went straight to see the Cezannes at the NPG and then to Garys show at Paisnal.Let me say I take my hat off to the Paisnal gallery for showing an artist so obviously alive and kicking.Ive known Gary since we showed together at MOMA oxford straight out of college.I also remember his big show at the ACME gallery, where he mixed drawing and paint very successfully.I have to say I was a little disappointed, particularly the way an abstract expressionist activity stresses the surface, particularly the Rhoplex PVA, which looked frothy..

But at the end of the 1950s, the main area for considering abstract painting as a united field of experience that involved artists from northern America and Europe remained that of a renewed rapport with nature, or, more precisely, the landscape.

Group Exhibitions 2016 Regrouping, Edward Thorp Gallery, New York, NY Spaced, Edward Thorp Gallery, New York, NY Philadelphia Painters, Kutztown University, Kutztown PA 2015 Summer Group Exhibition, Edward Thorp Gallery, New York, NY Haunted Summer, One Mile Gallery, Kingston, NY The Nothing That Is: Chapter 1 DDDRRRAAAWWWIIINNNGGG, CAM Raleigh, Raleigh, NC (Curated by Bill Thelen and Jason Polan) Paintings in Trees, The People's Garden, Brooklyn, NY 2014 Mark DeLong and Sarah Gamble, Edward Thorp Gallery, New York, NY Katherine Bradford and Sarah Gamble, Adams / Ollman Gallery, Portland, OR Listening In: Philly Artists Speak, Abington Art Center, Philadelphia, PA (with Grizzly Grizzly) Begin Where You Are, Crane Arts, Icebox Project Space, Philadelphia, PA Love's Industrial Park, Salena Gallery, Long Island University, Brooklyn Campus, Brooklyn, NY Between Matter and Experience, Presidents Gallery, University of the Arts, Philadelphia, PA Underdonk Selects, Underdonk Gallery, Brooklyn, NY 2013 Reprefantasion: Abstracting Reality / Representing Fantasy, Fleisher / Ollman Gallery, Philadelphia, PA Drawing Down the Moon, Vox Populi Gallery, Philadelphia, PA Group Show: Paintings and Drawings, Edward Thorp Gallery, New York, NY Love's Industrial Park, Grizzly Grizzly, Philadelphia, PA Psychedelphia, Pageant Soloveev Gallery, Philadelphia, PA Season Review: Selected Artists, Edward Thorp Gallery, New York, NY 2012 Assembly 2012, Edward Thorp Gallery, New York, NY First Contact, Field Projects Gallery, New York, NY Peep, A Curious Look Into Painting, Little Berlin Gallery, Philadelphia, PA 2011 Free Range: Painting at the University of Pennsylvania, University of Pennsylvania, Morgan Gallery, Philadelphia, PA 2010 Lee Arnold, Sarah Gamble, Andrew Gbur, Fleisher / Ollman Gallery, Philadelphia, PA Philadelphia Painters, The Painting Center, New York, NY Places, Everyone, Cross McLeaf Gallery, Philadelphia, PA 2009 Art of the State, Pennsylvania Museum of Art, Harrisburg, PA Former AIR, Bemis Center for Contemporary Art, Omaha, NE 2008 Philagrafika Invitational Portfolio, University of the Arts, Philadelphia, PA Vision Quest, School 33 Gallery, Baltimore, MD 2007 Sarah Gamble and Terra Fuller, PS122 Gallery, New York, NY minty, VoxPopuli Gallery, Philadelphia, PA 2006 New Trends in Painting, Concordia University, Seward, NE Omaha Hobo Showbo, Bemis Center for Contemporary Art, Omaha, NE Wrote For Luck, Kouros Gallery, New York, NY 2004 Voxenniel, Vox Populi, Philadelphia, PA Bad Touch, Lump Gallery, Rose Museum at Brandeis, Rose Museum at Brandeis University 2003 The New Acropolis, Fleisher / Ollman Gallery, Philadelphia, PA

Driving the brush through his body movements, his style of layered abstract ink - splashes and dynamic freehand brushwork in varying intensities of ink create forceful fields of darkness — «emotional explosions» that convey powerful feeling and give form to the artist's energy and exertion.

Minimalist and abstract, they are deeply influenced by landscape and also reference the color field works of artists aligned with the New York School during the 1960s.

Influences for the color - field work included artists such as Mark Rothko and Barnett Newman, while later paint splatter, lyrical abstract work of the 70s and 80s were influenced by fellow artist Jackson Pollock.

Her pure abstract paintings call to mind the stained canvases of the Color Field artists, but her work embodies a unique elegance that differentiates it from that of her contemporaries.

Dan Christensen (1942 - 2007) was a leading figure in the Color Field movement whose relentless experimentation with new tools and materials made him among the most ambitious abstract and gestural artists of his time.

Biography: Dan Christensen (1942 - 2007) was a leading figure in the Color Field movement whose relentless experimentation with new tools and materials made him among the most ambitious abstract and gestural artists of his time.

While on a field trip to Stieglitz's 291 gallery as a student, Strand was captivated by the abstract work of exhibiting artists.

Some consider Feeley part of the Color Field arm of Abstract Expressionism as well, while other critics such as Gene Baro saw an independent artist unrelated to the abstract expressionist legacy — «in the way that baroque art is remote from ancient Egyptian art and presumes different standards of value and habits of mind.»

In light of recent controversies over the use or absence of Black bodies in relation to abstract painting (most notably the controversy of the Dana Schutz painting at New York's Whitney museum), and the ahistorical suspicion of abstraction as a form of practice that manifest in some of the discourse, it is important that Black artists» role as innovators in the field of abstraction is given due significance here through the works of Whitten, Bowling, and others.

«My projects take into account the role of the artist in the expanded field of interdisciplinary practice to include socially oriented sculptural installation, abstract painting derived from social semiotics, and photography that treads the line between quotidian encounter and generic abstraction»

These issues, however, had been redefined by a younger generation of abstract artists and theorists, the Minimalists and Color Field painters, into a question of painting's essential identity: was it a thing or a surface or both?

Notable artists include American abstract painters Frederick Hammersley, Jaune Quick - to - See - Smith, Nathan Oliveira and famed blender of realism and color field Wolf Kahn.

His research influenced Minimalism, Color Field painters, Abstract Expressionism, Op Art, and continues to inspire a new generation of abstract artists.

Born in Besemer, Alabama, in 1939 — during the Jim Crow era when rigid segregation was in effect — Jack Whitten belongs to the generation of abstract artists that emerged in the early 1970s, more than a decade after Minimalism, Pop Art, and Color Field first came on the scene.