Sentences with phrase «figuration and abstraction at»

«Across the Tisch collection there are moments of great figuration, but also fabulous abstract compositions by artists who are dealing with figuration and abstraction at the same time»

Not exact matches

It both brought him to the attention of a wider public at a time when Abstract Expressionism still held sway in the eyes of the New York art world, and it documented, step - by - step, his transition from abstraction to figuration.

Villar Rojas's installation at the Serpentine Sackler therefore provides the perfect chronological extension to Merz's conception of the non-heroic in art by prioritising the site and the viewer, while still making reference to two of the older artist's key concerns: the figuration - abstraction binary and the focus on «raw» materials.

The painter Nina Chanel Abney, now 35, has been on a tear since she first unveiled her visceral fusions of abstraction, figuration and politics at the Kravets Wehby Gallery in Chelsea in 2008.

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.

His pictures stand between abstraction and figuration and he is, in his own words (which he has tired of hearing thrown back at him) a figurative painter of emotional situations.

Morley has been at the heart of the contemporary debates about painting, its authenticity and surface, and the validity of figuration versus abstraction.

It was a diverse scene that held out a hint of utopian promise at a time when Abstract Expressionism was waning and new categories had not yet hardened: It included many more women than the uptown art world; it was not completely white; abstraction and figuration jostled side by side (if not always comfortably), along with genre - bending sculpture; and the gloriously messy birth of modern performance art took place in the midst of it all.

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 wilAt 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 wilat will.

At least since the days of Delacroix and Manet, painting has vacillated between figuration and abstraction, with attention sometimes given to the smears of paint and at other times to the object those smears depicAt least since the days of Delacroix and Manet, painting has vacillated between figuration and abstraction, with attention sometimes given to the smears of paint and at other times to the object those smears depicat other times to the object those smears depict.

Drawing largely on discarded refuse, Bhabha's sculptures, many of which are mounted on pedestals or plinths, tow the line between figuration and abstraction, often hinting at a recognizable object while simultaneously shying away from any such form.

For a while now Amy Sillman has been one of the most exciting painters working in America, creating bravura canvases that poke fun at the orthodox distinctions between figuration and abstraction, messing it all together into a humorous, thought - provoking, and often sexy stew.

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.

Here, you've mentioned how in these shows artists were taking a variety of approaches simultaneously, with figuration and abstraction oscillating and with every sort of style going on at once.

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.

This means that the distribution of colors is entirely random, privileging chance and abstraction at the expense of figuration or painterly touch.

This includes paint (another tool at her disposal); Color Field painting; the brushstroke, squiggle, and line; Chinese and Japanese art; Indian miniatures; abstraction; figuration; abstract illusionism; inspirational posters; children's book illustrations; greetings cards; thrift store merchandise; wheels from bicycles, go carts, and strollers; buttons; embroidery and appliqué; mythology; essays on other artists.

Topics will include formal accounts, connoisseurship (particularly controversies around Michelangelo and Rembrandt's drawings), technology (camera obscura, camera lucida), figuration and abstraction, and actual practice at a place like Cooper Union today.

Operating at the intersection of film, animation, graphics, performance and sound, Amorales's work has oscillated between abstraction and figuration, reality and fantasy, with little constancy beyond the underlying notion of the «interface», or a system that connects graphic devices, often adding layers of metaphorical significance.

The story of Italian abstraction and figuration continues uptown, at Luxembourg & Dayan, with an artist of the following generation.

During the late 1960s, Guston became frustrated with the limitations of abstraction and returned to figurative painting, amassing a potent language of motifs whose roots can be seen in the forms and shapes of Traveler III, and illustrating what Christoph Schreier refers to as subcutaneous figuration.2 Following his 1966 exhibition at the Jewish Museum in New York, Guston relocated to Woodstock, New York, embarking on what would become a two - year hiatus from painting.

Moving seamlessly from figuration to abstraction — and at times working simultaneously in both — de Kooning's work underwent radical stylistic shifts from decade to decade, continuously evolving and refining.

Moving from figuration to abstraction — and at times working simultaneously in both, de Kooning's work underwent radical stylistic shifts from decade to decade.

Vanessa Prager's upcoming exhibition at Richard Heller Gallery will feature more than a dozen new works, a series of self - portraits, which move fluidly between figuration and abstraction.

Tracing the Century has at its heart artworks based on the human body and the inner self, opening up the conversation between figuration and abstraction that characterised art in the twentieth century.

As with Caulfield, Hume's painting has varied only subtly over the years: jump a decade from Tony Blackburn to Green Nicola (2003), and there is still the same deadlock at the limits of abstraction and figuration.

This body of work sits somewhere between abstraction and figuration, creating an enigmatic window to the outside world that feels at once familiar and mysterious.

The most fascinating response was that of Philip Guston, who seemed to come out of the other side of abstraction into an alternative world of figuration, ironic, often amusing, but at heart deadly serious about human failure, and how hollow the pose of artistic heroism had become.

Art critic Jonathan Goodman once wrote that Puder's paintings are «at the cusp between representation and abstraction, where the overall gestalt is accessible as figuration but also presents itself as a nonobjective arrangement of forms.»

When finished, figuration and abstraction are kept in an oscillation of arrival and dissolve, many things happening at once, cooperating and conflicting.

These two examples only emphasize the idea that figuration art today contains elements of abstraction and that it also follows no rules at all.

The bold brushstrokes and swirly shapes seem to hover between figuration and abstraction; vibrant, animated, and intense, they transcend their medium to introduce their own pictorial logic, at once contemporary and universal.

This exhibition (the first on the artist at Thomas Dane) presents new works by Merz, who is now in her nineties: from portraits — which continue her interest in the border between figuration and abstraction — and small fired clay heads, to works on paper.

He was already playing with the medium's relation to painting, with the line between abstraction and figuration, with an abolition of traditional perspective, with the theme of global commercialism, with picture sizes so large that viewers» experience of the work changed noticeably at different distances.

Among the leading German artists of his generation, Thomas Scheibitz has developed his own conceptual language that bridges the realms of figuration and abstraction, at times dissolving them entirely.

Oehlen's spatially intriguing works, in which figuration and abstraction collide, are a strong reminder of the complex forces that were involved during the resurgence of painting at the latter part of the previous century.

As for individual artists, I see a lot of strength in a generation of women painters in their forties or fifties who are working in abstraction or at the boundary of abstraction and figuration.

It was there that Mr. Colacello, the man perhaps known best for being a sidekick to legendary artists like Andy Warhol who he worked alongside for 12 consecutive years at Interview Magazine, leapt from writer to curator with the debut of «The Age of Ambiguity: Abstract Figuration / Figurative Abstraction,» a selection of works all tied together with a theme of abstraction rooted in tangible objects anAbstraction,» a selection of works all tied together with a theme of abstraction rooted in tangible objects anabstraction rooted in tangible objects and concepts.

LOS ANGELES — A Shape That Stands Up at Art + Practice (A+P) gallery, in partnership with the Hammer Museum, claims to «[examine] the space between figuration and abstraction» — a great starting point unless you have the sneaking suspicion that this space disappeared decades ago.

To name one of the female artists whose works achieved impressive sales at the fair; Cecily Brown, whose work situates between abstraction and figuration, proved popular at Thomas Dane Gallery and all works by the artist were sold within the first hour of the VIP preview.

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.

The work by Cragg was predictably good, but perhaps too similar to many others he's done at this point, and hovers between weltanschauungs of abstraction and figuration.

I have always liked his barbershop paintings, and the way he uses the paraphernalia of bottles and products, the mirrors and posters and illustrations of haircuts on the walls as a kind of abstraction — they make you think of abstract expressionist Hans Hofman's push - and - pull rectangles of dancing colour, and also at times of Dutch painter René Daniëls» plays between figuration and abstraction.

Opening: «Richard Diebenkorn: Early Color Abstractions 1949 - 1955» at Van Doren Waxter Richard Diebenkorn is one of the most celebrated artists to come out of the Bay Area Figurative Movement — a group of San Francisco Bay area artists that included David Park, Elmer Bischoff and Wayne Thiebaud — who eventually forsook the dominant Abstract Expressionist style of the»50s to revisit figuration.

Ostensibly an homage to Whistler's «Nocturnes,» Hodgkin's work flips back and forth between figuration and abstraction, as the bright, sumptuous lines and dark framing device hint at a distant seashore viewed from a shadowy interior.

A precursor of New Image Painting - a type of Neo-Expressionism launched in 1978 at the Whitney Museum of American Art, championed by Jonathan Borofsky (b. 1942) and Susan Rothenberg (b. 1945)- Guston's late style was important for its blurring of the boundaries between abstraction and figuration.

Austrian artist Ulrike Muller's solo exhibition at the Museum Moderner Kunst Stiftung Ludwig Wien confronts concepts of the «other» through abstraction and figuration.

Stingel's paintings, however, fall between abstraction and figuration, even between time and space, becoming decoration, painting, architecture all at once, indeed transcending the traditional genre.

Often a fusion of abstraction and figuration, at times paralled by portraiture, his is a body of work rooted in the second half of the 20th century and whose ongoing appeal defies time.