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.
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.
«The visual relationship — both complementary and contrasting — of Chagall's emotive
figurations with the abstractions of the Russian avant - garde tells a compelling and complex story of influence and heritage, contextualizing Chagall within the art movements of his homeland for the very first time and offering visitors an opportunity to discuss, debate, and connect with some outstanding works of art.»
Observing the world through women's eyes and utilizing the no - man's - land land
between figuration with abstraction, Brown is creating an oeuvre that's unique and easily recognizable.
Resembling propaganda posters and executed in her signature style
mixing figuration with abstraction, the works «offer sincere portrayals that counter how black life is represented in the mainstream media.
Organized by Cecilia Alemani, The Comfort of Strangers brings together work from the 1970s and 1980s,
combining figuration with abstraction, monumentality with fragility, and reluctance with exuberance.
The parting of the Red Sea, the Crucifixion, the hanging of the American abolitionist John Brown, and the American Civil War, for example, are depicted by Furnas in dramatic scenes that combine
figuration with abstraction.
South Korea native Jiha Moon fuses her Eastern origins and Western life in art works that combine
figuration with abstraction.
Voulkos combined wheel throwing with slab building, traditional glazes with epoxy paint,
figuration with abstraction, and made huge ceramic structures with complex internal engineering.
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.
He combined wheel throwing with slab building, traditional glazes with epoxy paint,
figuration with abstraction, and made huge ceramic structures with complex internal engineering.