Sentences with phrase «figuration and abstraction as»

Her paintings bring to question the line between figuration and abstraction as within the visual language of the horizontal, a sense of place is suggested.

His paintings explode the historical separation between figuration and abstraction as yet another categorical artifice.

Not exact matches

move back and forth between abstraction, figuration and the combination of the two a lot in my work as well as changing scale from very small to very large....

Curated by Paul Schimmel, the show charts Guston's progress as he played with Color Field painting, moved into grid - like abstractions, and came gradually closer to figuration, combining the visual languages of Abstract Expressionism and Minimalism.

Masterfully recreating a photograph whilst allowing the process of its painterly making to remain visible, Richter heightens the tension between painting and photography, abstraction and figuration, truth and fiction — presenting to us an image that is conceptually subversive as it is utterly magnificent.

What we've tried to do is make the point that to move from abstraction to figuration, and then back again, was not as strange for Diebenkorn as it might seem.

In the starlets depicted by Laing, there is an erotic charge that echoes between surface and subject as the models shift between figuration and abstraction, their colour - blockedcostumes in tension with bodies contoured through half - tones.

With minimal fuss, Bradley works in series, picking up and discarding styles and oscillating between abstraction and figuration as it suits him.

During the same period of the late 1960s, and early 1970s in Europe, Gerhard Richter, Anselm Kiefer [49] and several other painters also began producing works of intense expression, merging abstraction with images, incorporating landscape imagery, and figuration that by the late 1970s was referred to as Neo-expressionism.

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.

It should be noted that while the overall effect of Murray's work is one of abstraction, and the artist described herself as an abstract painter in an interview included in the 1987 catalogue, there are many representational elements and references in her paintings, in a stylized style emerging from cartoons, comics, and graffiti as well as from pop artists like Claes Oldenburg: works are shaped like shoes or cups and contains stylized abstracted but identifiable figuration and still - life imagery.

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.

This work enhances the museum's growing collection of paintings that combine abstraction and figuration by such artists as Marlene Dumas and Amy Sillman.

Haynes» work is clearly «abstract», and participates in a relatively minimal pictorial economy that is often seen as one of abstraction's disadvantages compared to figuration.

Thomas Chimes: Early Works (1958 - 1965), 2009 Text by Lisa Saltzman 56 pages, Hardcover Published by Locks Art Publications ISBN: 978 -1-879173-41-5 «Developing, in these formative paintings, a visual style indebted to the palette and compositional structures of such modernist forefathers as Marsden Hartley and Henri Matisse and emboldened by the stenographic proto - abstractions of such New York School predecessors as Jackson Pollock and Mark Rothko, Chimes systematically put forth a series of paintings that pressed such experimentations with the limits of figuration into the realm of the theological, the philosophical and the historical.

More painting, tending to semi-abstract, as imagery edged out abstraction; such were Chris Ofili's etched figurations that emerge as copulations out of a mottled blue backdrop, and Fondation Beyeler's three - wall installation of tiled pixellation that in photographs reads as porn.

These two poles of 20th - century American art — abstraction and figuration — also signify the African - American perspective on the movements, as articulated by these two revered (now deceased) artists.

Cecily Brown draws inspiration from sources as diverse as Goya, Joan Mitchell, and Willem de Kooning, and her paintings combine aspects of both figuration and abstraction.

The drawings exhibited contain elements of both abstraction and figuration as forms take on multiple connotations.

For the following two decades, de Kooning moved easily between pure abstraction and loose figuration developing a reputation as one of America's leading painters of the 20th century.

Associating his influences with Social Realists «he fell in with» when he arrived in New York, Sims describes them as «a cohort of individuals who bridged the gap between abstraction and figuration... the use of energetic color and gesture, and a sensibility that would be described as gritty.»

I've always thought of Peter Doig as something of a guilty pleasure, even though the 49 - year - old painter's mixture of figuration and abstraction, reverie and factuality, has won him a renown since his 1994 New York debut as a freshly - minted Turner Prize nominee.

Presented with an interesting balance levitating between abstraction and figuration, Hooray We Are All Broken was Jim's way of tackling what he calls as «the so - called reality.»

In her text on Brice's work in Vitamin P2, Coline Millard notes: «Just as [Brice's] painting hovers between figuration and abstraction, her figures occupy the limbo between the living and the dead.

He began his artistic explorations with visual experimentation inspired by the work of pioneers of geometric abstraction, such as Kazimir Malevich and Piet Mondrian, as well as by the playful and whimsical figuration of Paul Klee.

Here the tub form acts as a container for the body and paint, fusing figuration with abstraction.

As one of the most significant proponents in the reconciliation of gestural and field painting, figuration and abstraction, he was a solitary figure, «moving vertically», unencumbered by the responsibilities and pressures that others often felt as they worked in his shadow.&raquAs one of the most significant proponents in the reconciliation of gestural and field painting, figuration and abstraction, he was a solitary figure, «moving vertically», unencumbered by the responsibilities and pressures that others often felt as they worked in his shadow.&raquas they worked in his shadow.»

Only a few years out of RISD, the 31 - year - old painter Ted Gahl performs a captivating tightrope - walk between abstraction and figuration, creating canvases that seem to harness stylistic elements of artists as diverse as de Kooning, Diebenkorn, El Greco, and Matisse.

His work, from early minimal objects to increasingly expansive and complex forms, has always dealt with such central issues of the sculptural tradition as size and scale, balance and imbalance, figuration and abstraction.

Although subject to censorship and marginalization during her lifetime due to the highly subversive nature of her work, Rama has been celebrated in recent years as a key avant - garde figure in the development of both abstraction and figuration from the 1930s onward.

At the time, Andersson was not well known in the States, yet it was immediately clear that her paintings epitomized an approach to form that could be characterized in Ferguson's terms: Old dichotomies of abstraction and figuration had been erased, and art history had become available as a kind of stylistic smorgasbord to be drawn on at will.

The work of the American artist Carroll Dunham can be characterized as exploratory, fluctuating between figuration and abstraction, between painting and drawing, shaped with tendencies toward caricature.

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.

With a nod to the long lost divide between abstraction and figuration their divergent works take positions of figure, foreground, background, and architecture as a scene of unrelated moments forced into dialogue.

This interplay of abstraction and figuration places Eriksson's work alongside that of other painters such as Per Kirkeby, Peter Doig and Albert Oehlen.

Rana complicates and realigns such divided notions as figuration and abstraction, manipulation and reality, but also aims to transcend both traditional and technological means of communication.

Philip Guston, Kazimir Malevich and John Piper occur to me as painters who started figuratively, switched to abstraction, then returned to a new mode of figuration.

Laura Owens's work on display at the Dallas Museum of Art challenges assumptions about figuration and abstraction, as well as the relationships among avant - garde art, craft, pop culture, and technology.

Between 1909 and 1931 Lacasse practiced social realist figuration alongside proto - cubism and Abstraction and this may have counted for him loosing his status as a pioneer of Abstraction.

Conjuring references as diverse as Velasquez and Van Gogh, Cezanne and Gauguin, Ensor and Brueghel, Liu Wei expertly depicts the human condition, combining figuration and abstraction in a manner reminiscent of Bacon and Freud.

In the first volume, the authors present an overview of Motherwell's career, and discuss key topics including the tension between figuration and abstraction in his work, his role as a spokesperson for modernism, and the critical reception of his work.

Revered as one of the great post-war masters in his native United States, Diebenkorn moved from abstraction to figuration and back again, often disregarding the popular styles and trends happening around him, in order to solve complex, self - imposed compositional problems in his paintings.

Different in scale and style, his painterly production contemplates both intimate and delicate paintings where figuration fades into abstraction, as well as more exuberant and confrontational works that deploy references to pop culture, sexuality and consumerism.

Each piece carefully balances figuration and abstraction, as if stuck between reality and a feverish hallucination, so that the scenes feel both familiar and strange.

Ghenie blurs the line, often literally, between abstraction and figuration, as he tests the limits of representational painting.

Cobra is frequently remembered as a style of Northern European painting — merging figuration and abstraction — that emerged in the traumatic wake of World War II.

Always somewhere between abstraction and figuration, Kiefer's poetic and deeply psychological approach discusses hard social issues that are, thanks to him and his contemporaries, such as Georg Baselitz, Sigmar Polke, and Gerhard Richter, brought into the discussion, forcing Germany to face its terrible past.

As a painter, Heron got younger as he got older, and couldn't care less for distinctions between abstraction and figuratioAs a painter, Heron got younger as he got older, and couldn't care less for distinctions between abstraction and figuratioas he got older, and couldn't care less for distinctions between abstraction and figuration.

Mullican sought both within himself and throughout the cosmos for the familiar as well as the awesome; he then strove to express the specific as well as the universal through his art, which encompasses both abstraction and figuration.»

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