Sentences with phrase «field painting represents»

Historically, color - field painting represents one - half of Abstract Expressionism, with the «gestural abstraction» of artists like Jackson Pollock and Willem de Kooning representing the other half.

Not exact matches

The subject of these paintings is never limited to the field of what is represented.

It represents around twenty living artists in fields from painting and sculpture to photography and film.

He represents the 21st Century stand for the irrepressible vitality and necessity of painting, where the exercise of painterly thought is a field of existence in which the exchange between the author and the viewer happens by osmosis, not by pre-selected channels.

«Like Phaidon's excellent volumes on painting (Vitamin P) and drawing (Vitamin D), this is a comprehensive effort, representing artists from all fields (documentary, portraits, video, etc.) and 30 countries... The scale of the project and the talent of those chosen is undeniable.»

Walter Darby Bannard (b. 1934) represents one of the pioneers of Color Field painting, along with Mark Rothko and Morris Louis.

Californian art from the 1950s through the 1970s is a particular strength, with artwork by Sam Francis, Richard Diebenkorn, Jay DeFeo, Ronald Davis, Larry Bell, Edward Ruscha, Kenneth Price, Charles Arnoldi, and Ed Moses, Color Field painting and Lyrical Abstraction are represented by Ronald Davis, Sam Francis, Kenneth Noland, Ronnie Landfield, Frank Stella, Helen Frankenthaler, and Kenneth Showell.

NORTH ADAMS, MASSACHUSETTS — In the Abstract brings together a mix of multi-generational artists whose works represent a potent and muscular approach to contemporary abstraction that adopts and adapts various formal strategies of painting — from hard - edge geometries and dense color blocks to gauzy color fields and expressionist marks — with that of sculpture, photography, digital processes, and video.

Sam Gilliam (American, b. 1938) An American color field painter, Gilliam is represented in the exhibition by Eiler Blues (1978), a wall - size oil painting with embedded objects on stitched and unstretched awning canvas.

My latest work confronts the challenge: the resuscitation of landscape painting in a world where «landscape» is represented and defined through an ever - widening field of digital, graphic, and visual forms.

Heilmann's work falls into line with the artistic œuvres of Josef Albers, Ad Reinhardt and Kenneth Noland — all important exponents of minimal art and colour - field painting likewise represented in the Städel Museum collection.

In his new paintings, LoPresti continues his use of the color field gradient to represent another landscape in transition.

Various movements, themes, and styles are represented, including Abstract Expressionism, Color Field painting, Pop art, and Minimalism, as well as aspects of New Image Painting from the 1970s and beyond, recent developments in abstraction and figurative sculpture, and contemporary movements in photography, video, and digital painting, Pop art, and Minimalism, as well as aspects of New Image Painting from the 1970s and beyond, recent developments in abstraction and figurative sculpture, and contemporary movements in photography, video, and digital Painting from the 1970s and beyond, recent developments in abstraction and figurative sculpture, and contemporary movements in photography, video, and digital imagery.

Fontana will be represented by a focused survey of his nearly five - decade career, spanning his earliest Spatial Concepts, in which small canvases evoke immense galaxies through swirling fields of paint subtly embedded with small stones and broken glass, to his famous Attessi, or cuts, in which the artist has used a sharp knife to literally slice through the canvas surface into another space.

Xi Zhang is the latest in a long string of Plus Gallery represented artists to be selected for inclusion in New American Paintings, the quarterly, curated publication that selects who is relevant in the field of painting today.

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

Late abstract expressionism, color field painting, minimalism, and pop art were all represented.

1982 Geometric Art at Vassar, Vassar College Art Gallery, Poughkeepsie, USA Flowers and Gardens in American Paintings, DuBose Galleries, Houston, USA Paintings, Fuller Goldeen Gallery, San Francisco, USA New American Painting III, John C Stoller & Co, Minneapolis, USA New American Graphics 2 Shea Gordon, Pat Steir and Denise Green, Madison Art Center, Madison, USA Shea Gordon, Pat Steir and Denise Green, Mulvane Arts Center, Washburn University, Topeka, USA L'art Baroque, Musee d'art Contemporain, Paris, France Post Minimalisms, Aldrich Museum of Contemporary Art, Ridgefield, USA Representing Reality: Fragments from the Image Field — An Exhibition of Etchings and Woodblocks Prints by Gunter Brus, Francesco Clemente, Joel Fisher, Robert Kushner, Pat Steir, and William T Wiley, Crown Point Press Gallery, Oakland, USA (Traveling exhibition) Currents — A New Mannerism, Jacksonville Art Museum, FL; the University of South FL, Tampa, FL, USA

The painted trees in this exhibition are represented as solitary and isolated figures surrounded by simplified fields of color.

As I absorbed the monumental color field paintings and scrutinized the circular bands of steel sculpture on the floor — representing two important aspects of his work in the seventies — I recalled that Olitski was the first living artist to be given an exhibition in 1969 at the Metropolitan Museum of Art by the curator Henry Geldzahler.

The ravishing fields of color that appear in Amm's gesso board paintings, which will constitute the entirety of this exhibition, represent one of the most sustained and sensuous bodies of work being made by a contemporary European artist.

Color Field painting was represented only by a single Morris Louis, an early Helen Frankenthaler, and a Kenneth Noland target painting, while lyrical abstraction is left out altogether.

Ballast is provided by two older artists: Jo Baer, who reconfigures her signature two - toned Minimalist borders as quasi-legible letters, and Dan Walsh, who is represented by a field of concentric green lines that effectively mines the terrain of Frank Stella's Black Paintings.

In 1967 - 68 an important shift took place in King's work, with the first of the Baggot Street paintings, in which figurative elements are replaced by plain fields of colour, forms are rendered geometrically and light is represented through the use of a single line.

Nearly all modern art styles and genres are represented in the Tate collection, including: Impressionism, Expressionism, Cubism, Suprematism, De Stijl, Neo-Plasticism, Dada, Surrealism, Conceptual Art, Abstract Expressionism, Action Painting, Colour Field Painting, Pop - Art, Post-Modernism, Op - Art, Minimalism, Assemblage, Photorealism and Street Art, to name but a few.

Now considered to represent the Colour Field Painting tendency within American Abstract Expressionism, these rectangles of uniform width fill the canvas almost edge to edge; at the top and bottom the forms also press close to the perimeter.

Collectively, work by the select group of prolific creators, born between 1891 and 1981, represents a range of approaches rooted in Abstract Expressionism, Color Field painting and Minimalism, with emphasis on process, materiality, innovation and experimentation.

Pearlescent blobs represent luminous astral bodies; fields of fine colored lines suggest waves of electromagnetic radiation; swirly puddles of poured paint read as galactic soup.

Tyson acknowledges this in two large, seemingly identical paintings covered with what seems to be a field of coloured billiard balls, which represent molecules seen in close - up.

In Morning Sky (1962), a painting made during one of Avery's summers spent in Provincetown in the company of Mark Rothko, Barnett Newman and Adolph Gottlieb, the nature of Avery's influence on the younger painters is clear, as beach and sea represented on the canvas resolve into broad fields of colour, with a muted pink butting onto a serenely stormy dark blue.

In Australia, the Canto paintings were exhibited at the Museum of Modern Art and Design in Melbourne in 1965 and, in 1969, he was represented in «The Field» at the National Gallery of Victoria, among the first of many important group exhibitions.

Rather than articulate universal visual codes for collective mobilization, these works reduce the specific lives and experiences of those represented in the images to a pictorial field for the artist to play upon; the fetishized beauty of documented protest rendered even more beautiful, and even less capable of stimulating social change, by its sublimation through the commercially - viable language of abstract painting.