Sentences with phrase «figuration to abstraction with»

This exhibition tracks the transitional period of the great twentieth century painter Arshile Gorky, who moved from figuration to abstraction with his drippy, brightly colored oil on canvases.

Not exact matches

Melding a goofy figuration with painterly abstraction, viewers are given a choice to appreciate the narrative or the process with which these pictures are fabricated.»

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.

A trove brimming with variety, from small abstractions, lyrical figuration, to taped performances, and their associated sculptural sets, Brātescu's protean energies were a welcome surprise.

The exhibition was a miniature retrospective, beginning with works from the late 1960s, when Dodd, like a number of her artist friends and coevals, including Alex Katz, reacted against the dominance of abstraction by beginning to explore a plainspoken, forthright brand of figuration.

Whether appropriated by some contemporary figurative painters or aligned with some sort of new figuration, where the painters «find everything to be a matter of images» (to quote Barry Schwabsky from the online catalogue for «A New Subjectivity»), Abstraction clearly and demonstratively engages with the problems of painting (and collage and sculpture) despite the surprising conservatism of Kerry James Marshall.

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.

This catalog, another first, documents the Nasher show, a 10 - year survey exploring the arc of her practice which has evolved from a more painterly style to decidedly emphatic approach, mixing figuration and abstraction with a riot of bold color, symbols, and meaning.

The paintings, with richly hued backgrounds, depict androgynous figures and abstracted and historically vague settings to blur the line between abstraction and 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.

An introduction to the American artist who sustained virtuosity in a range of styles, from gestural abstraction to figuration and back again — illustrated with works offered in May to benefit The Donald and Barbara Zucker Family Foundation

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.

My work is figuration that flirts with abstraction; I've reduced the figures down to a flat plane of color, but they still register as a face or a hand.

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 depict.

Composition with Two Figures, 1979, and Face and Feather, 1979, push the question of figuration versus abstraction to its limits, to the point where it becomes difficult to distinguish the human figure within the abstract composition.

On the edge of figuration and abstraction, Yanai, with his interplay of colours and forms, accomplishes to elicit placeless and timelessness, allowing the viewer to easily identify himself / herself with the artist's imagery.

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.

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.

Since the 1950s, artist Maria Lassnig has incorporated painting techniques from various art - historical periods into her practice — realism, surrealism, and expressionism alike — in an effort to develop a distinct style of painting that blends figuration with abstraction.

It flirts with different genres of abstraction and figuration, and this was in itself enough to secure him powerful critical support.

These paintings combine abstraction and figuration in layered, painterly compositions in which the artist strives to convey his own personal and particular view of the world with «extreme clarity.»

With regard to the conflicting ideas of abstraction and figuration, Butler has always considered this conflict to be a natural and unavoidable effect of putting paint on canvas.

Initially concerned with abstraction, his work moved to figuration in the mid-1970s, when it became preoccupied with the effects of light and movement.

Peter Schjeldahl writes in the October 9th, 2017 issue of The New Yorker, «The happiest surprise in Trigger is a trend in painting that takes inspiration from ideas of indeterminate sexuality for revived formal invention... Christina Quarles... rhymes ambiguous imagery of gyrating bodies with dynamics of disparate pictorial techniques... The wholes and parts of bodies in Quarles's cheerfully orgiastic pictures entangle in alternating styles of line, stroke, stain, and smear... called to mind early nineteen - forties Arshile Gorky and Willem de Kooning, who fractured Picassoesque figuration on the way to physically engaging abstraction... Quarles playing that process in reverse, adapting abstract aesthetics to carnal representation.

In her paintings of the 70s, Steir often combined realistically painted flowers with a grid or color field, on one hand paying homage to admired Minimal artists Sol LeWitt and Agnes Martin, and on the other, questioning the dichotomy between abstraction and figuration.

They deconstruct materials and unravel Modern abstraction to address figuration, embodiment, impermanence, transition, and imperfection with astute contemporary perception.

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.

Josh Smith first became known in the early 2000s for a series of canvases depicting his own name, a motif that allowed him to experiment freely with abstraction and figuration and the expressive possibilities of painting.

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.

These tablets with their elements of abstraction and figuration speak of our world but Gordín turns things around with his capacity to observe and innovate.

With heavily textured abstract gray monochromes, Richter introduced abstraction into his practice, and he has continued to move freely between figuration and abstraction, producing geometric «Colour Charts», bold, gestural abstractions, and «Photo Paintings» of anything from nudes, flowers, and cars to landscapes, architecture, and scenes from Nazi history.

Turning away from the approaches of artists like Pollok and Kline during the 1960s, Guston's paintings came to include his own cartoon - style realism, combining elements of gestural abstraction with a return to figuration.

Along with well - selected illustrations of works in different media, the catalogue traces Sillman's early exploration of cartoon imagery and the associative use of colors, her struggle for the unity of the physical legitimacy of the objects and the human body, her equally shared interest in figuration and abstraction, her attempts to reduce images that evoke the ambiguity of singular gestures in flux that are emphatically stable, and her «zines» and recent forays into drawings made with an iPhone.

Here Bickerton's merging of figuration and abstraction comes to new levels: in m - DNA eve 3, for example, he has nearly obscured the image of the figure with impasto strokes of vibrant green, blue and yellow paint, blending the foreground and background until the model's bulging, exaggerated features seemingly emerge from the camouflage.

You were talking about something that was completely uninteresting to you when you started your work, which was the early - «60s and late -»50s battle between the conceptual and the process artists with the figurative people and action painters, and those painters with abstract painters: abstraction versus figuration.

For this «545 Days» exhibition, Robert Proch has continued with his research into the fragmentation of space, taking a pictorial approach that is all his own, halfway between abstraction and figuration, to the point of shattering all our cognitive reference points and igniting our imagination.

Just as her early work played abstraction and figuration off one another, in her diagram works the classic antinomies of picture making — color and line, figure and ground, painting and drawing — rub up against one another, with neither ever being able to dominate the other.

And then think of Philip Guston, when he starts doing those Ku Klux Klan pictures, going from abstraction to figuration in conversation with people like Norman Lewis, Sam Gilliam, Betye Saar.

Sultan's series comprises a confluence of seeming dichotomies, merging the industrial materials of Minimalism with representational painting, stylistically combining figuration and abstraction, and making references to high and low culture, ranging from topical events to art historical iconography.

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.

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.

Keeping up with these frequent contextual shifts, not to mention the constant, antic to - ing and fro - ing between abstraction and figuration, makes for an entertaining challenge.

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.

Aaron Curry's latest project with the gallery raises to a new level of complexity the artist's exploration of relationships between drawing and form, abstraction and figuration, and spaces both real and virtual.

Geometrical forms and simplicity combined with neon light gave him the possibility to analyze shapes and textures, together with flatness and dimensionality, figuration and abstraction.

Beginning with Bob Thompson's determined focus on figuration in abstraction's finest hour in Postwar New York; Alice Neel's sheer skill and commitment to the particular details and psychology of her subjects; Henry Taylor's funny, passionate take on his Los Angeles friends and neighbors; and young Brooklyn artist Daniel Heidkamp's gawky precision and plein air exuberance.

Like Calder, whose abstract stabiles make playful allusions to the natural and animal realm, Joel Shapiro explores the metamorphic possibilities of geometric figures and forms, referencing the human body, spirit and gesture as he merges figuration with abstraction.

This first volume to feature all of Oehlen's early self portraits reveals his balancing of figuration with abstraction, and his simultaneous questioning of the practice and history of art.

Known for his monumental wall reliefs and sculptures of animals from the 1970s, American artist Bernard Langlais (1921 — 1977) created a diverse oeuvre of paintings, sculptures and environments that shifted regularly and freely between abstraction and figuration — a shift that reflects Langlais» constant effort to reconcile his rural roots (in Maine) and keen sense of place with postwar artistic movements and ideologies.