Sentences with phrase «figuration after»

This book starts with the early decades and also treats Pollock's re-adoption of the figuration after his renowned abstract paintings.

The title of this brief reflection is cobbled together from Philip Guston's 1978 letter to Ross Feld, a younger poet and critic who had written appreciatively of Guston's signal 1970 show, which marked his leap (or return) to figuration after years building a solid legacy of moodily lyrical abstractions.

That exhibition, which included his symbolic, hooded figures, had a powerful impact on at least three generations of artists who have re-engaged figuration after decades in which abstraction dominated American painting.

He championed a return to figuration after a period of more concept - dominated works, and is considered an important figure in Neo-Dada and a forerunner of Neo-Expressionism.

What was he doing from 1957 to 1967, and could it connect abstraction to figuration after all?

Not exact matches

9:9 The disciples are to keep secret the story of the Trans - figuration until after «the Son of Man should rise from the dead.»

Nearly 30 years after the Musée d'Art Moderne de la Ville de Paris introduced Keith Haring in Figuration Libre: France / USA (1984) alongside Jean - Michel Basquiat, Robert Combas, Hervé Di Rosa, and Kenny Scharf, the museum's current Haring retrospective delivers the artist well beyond this neo-Expressionist context.

As the museum notes, his practice melds figuration, abstraction and decoration and Ofili flexes his muscles in each of these areas, powerfully incorporating all three in one canvas after another.

Made one - year after Whitten moved from his native Alabama to New York City, Form (3rd Set) 2 is a diptych of mysterious and haunting images built on the tension between figuration and abstraction with two smoky forms emerging from the surrounding darkness.

Taking the route of big, brushy and ethereal abstraction after graduation in 2005 from the Art Institute of Chicago, her work has seen a recent turn to figuration.

After creating the first plate painting in New York City in 1978, critics championed Schnabel at the time for heralding in the «return» of painting, and the works featured in this exhibition are emblematic of Schnabel's continued exploration of materiality and figuration.

Perhaps as a result, the most powerful of his abstract paintings may be among his least - known — works made, presumably, after the 1961 show of abstractions but before the fateful meeting of the Spiral group in 1963, after which Bearden returned to figuration.

It was after Waisler's journey to India in the mid-90s that his works moved toward figuration and away from pure abstraction.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

After World War II, the artistic culture in Italy was characterized by a clash between the tradition of figuration and new modes of abstraction, and by a proliferation of artistic and theoretical movements incentivized by a young generation of artists and by a new international exchange of ideas.

Thus, Lauand successfully negotiated the development of Brazilian avant - garde tendencies after World War II ⎯ ⎯ including the influence and reception of Pop art and New Figuration in the 1960s and 1970s, as well as the political disruption initiated during the military dictatorship ⎯ ⎯ continually buttressing Concretism's critical ideas while formulating her own meaningful intersections with notions of rupture.

Even after Richter's turn to figuration since the early 2000s, he has maintained his characteristic use of brash colors and dynamic, theatrical compositions, now applied to a «new kind of history painting,» in the thematic and formal tradition of Max Beckmann and George Grosz.

And I already mentioned how when I really started out after the war in Chicago the Bavhaus and the experience and the new figuration experience.

After trying art classes at the Samuel S. Fleisher Art Memorial while attending an all - girls high school, she went for a B.F.A. at Boston University, where, she said, «they were very, very pro figuration.

In the years after Pollock's death in an automobile accident in 1956, however, she created a series of enormous paintings filled with thick, expressive strokes of umbre paint that abandoned figuration and instead presented raw energy, perhaps in an attempt to express her overwhelming sense of grief.

After breaking from the Dadaists in Zurich and Paris, Picabia moved to the French Riviera in 1925 and began to expand the territory of figuration; it was there he developed his fascination with the layered compositions that define his Transparency series.

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.

After the decade of losses she experienced in the 1960s, Mitchell shifted toward geometric figuration, and then soon shifted again, back toward all - over painting.

And even those sessions with a life model might come in handy — figuration is, after all, very en vogue at the moment.

It was only after he left school in 1959 that he took up figuration.

Various artists who had worked in an abstract style before the war, notably Henry Moore for instance, returned to a period of figuration as a means to process their need to reassert the primacy of the human body after years of witnessing its destruction.

Pollock took up figuration again after his famous drip paintings.

The present work, Untitled V, stands out as a preeminent example from this series: less abstract in form than others, its undeniable reference to figuration anticipates the larger and most accomplished work from the artist's sculptural oeuvre: Clamdigger, which de Kooning created three years after the present work, in 1972.

Famous first as a founding contributor to Bay Area Figuration of the 1950s and early»60s - a regional counterthrust against the influence of New York School abstraction - Diebenkorn (1922 - 93) has achieved canonical stature internationally for the abstract paintings he began producing after his move to Los Angeles in 1966.

In the late 1970s, a decade after Guston returned to figuration, having refined his new lexicon, Sidney Felsen, cofounder of Gemini G.E.L., a printmaking workshop in Los Angeles, approached Guston about creating a new series of prints.

Accrochage Galerie Bruno Bischofberger, Zurich 60/80 Attitudes, Concepts, Images Stedelijk Museum, Amsterdam Galerie Bruno Bischofberger, Zurich New Figuration in America Milwaukee Art Museum, Milwaukee New York Now Kestner - Gesellschaft, Hannover; Musée cantonal des beaux - arts Lausanne, Lausanne In Our Time: Houston's Contemporary Arts Museum 1948 - 1982 Contemporary Arts Museum, Houston Still Modern After All These Years Chrysler Museum, Norfolk Body Language Modern Art Museum of Fort Worth, Texas The Americans: The Collage Contemporary Arts Museum, Houston New Paintings: Sandro Chia, Francesco Clemente, Anselm Kiefer, David Salle, Julian Schnabel Anthony d'Offay Gallery, London 74th American Exhibition The Art Institute of Chicago, Chicago The Pressure to Paint Malborough Gallery, New York Homo Sapiens: The Many Images Aldrich Museum of Contemporary Art, Ridgefield Castelli and His Artists Museum of Contempoary Art, La Jolla; Center for the Visual Arts, Aspen

In the late sixties and early seventies, after a decade of professional art practice during the height of the male - dominated Minimalist and Light and Space movements, Chicago began to make a conscious departure from abstraction and move toward figuration.

The evolution from figuration back to abstraction began shortly after he moved from the San Francisco area in 1966 to teach at the University of California at Los Angeles.