The exhibition highlights the interblending of traditional and
figurative abstraction as the foundation for more fluid and inclusive expressions of identity, engendering a new visual pronoun.
Not exact matches
If
abstraction is favored by undiscerning speculator collectors
as well
as museums hoping to advance a fast - forward chronology of art history, there is still no small amount of
figurative work on the scene.
Drawing from the art - historical lineage of cubism, cartoons,
figurative painting and gestural
abstraction, and appropriating subjects from mythology, advertising, print culture and consumerism, Comic Future is
as much about the breakdown of the human condition
as it is about the absurdities which define the perils of human evolution.
Remaining defiantly
figurative despite an art scene that swung increasingly toward
abstraction, and choosing
as his subjects those places and homes to which he felt most deeply connected, Porter produced a body of work of tremendous personal significance and emotional power.
A unique amalgamation of artist, Spiritualist and medium, the fascinating and unexpected story of Houghton has generated international interest from curators and writers who see her work
as representing an abandonment of
figurative form that anticipates the development of modern
abstraction by artists such
as Kandinsky or Malevich by several decades.
Tworkov's
figurative abstractions are a little known part of his oeuvre
as he is primarily celebrated for his Abstract Expressionist period of the early 1950s.
Although he continued to promote abstract work produced in Britain and throughout Europe, Sylvester believed at this time that
figurative art «was capable of going further... that [it] could be more complex, more specific, richer in human content».18 By 1958, however, Sylvester had undergone what he later described
as a «Damascene conversion'to the profound achievements of recent American
abstraction.
As Peter Schjeldahl writes in The New Yorker, «Outlasting insult and condescension, a woman among competitive men, and a
figurative artist in times agog for
abstraction, she triumphed.»
But at a time when the art world was tilting toward
abstraction and internationalism, Mr. Colville was also something of an outsider, dedicated to
figurative painting and to his native Canada, where he was revered by many
as «painter laureate.»
With its inclusion of
abstraction along with
figurative work, it struck some viewers
as not explicitly gay enough,
as dodging the political issues its title raised.
Neel challenged the artistic conventions of her time by pursuing a career
as a
figurative painter when her contemporaries favored
abstraction.
Influenced by representational artists such
as Fairfield Porter and Alex Katz, during her studies Fish was not always encouraged in her realistic approach, considering the fact that prestigious university's art programs advocated the idea of inferiority of the
figurative painting in relation to
abstraction or conceptual work.
This exhibition takes
as its focus Tucker's
figurative work, which pushes the
figurative to the brink of
abstraction.
I have no sense that this is «abstracted from» anything, yet it does have some connections to picture - making and composition that I think of
as «
figurative» even within the larger frame of
abstraction.
What makes de Kooning such a great artist may be something far more subtle, far more interior to painting itself and perhaps expressed best in his earlier works, those that are, again, often described
as transitional, from
figurative works of the early 40s to even
abstractions such
as Painting, Attic, or Excavation.
Her work sits within the realm of emotional
abstraction, with geometric and seemingly coincidental outlines of bodies or vases
as her only hint at
figurative representation.
Drawing from the art - historical lineage of cubism, graffiti, cartoons,
figurative painting and gestural
abstraction, and appropriating subjects from mythology, advertising, print culture and consumerism, Aaron Curry's eagerly awaited survey exhibition at CAPC musée d'art contemporain de Bordeaux next summer is
as much about the breakdown of the human condition
as it is the absurdities that define the perils of human evolution.
But his body of work completed over many decades, the artist died in 1993 at the age of 71, includes many
figurative, landscape and still lives that served
as a foundation for his large scale
abstractions.
As if hit by lightning, Caziel's commitment to
Abstraction was momentarily halted by his need for a more immediate
figurative style to express his passion for Catherine, witnessed in a series of large black ink and wash drawings.
Like Francis Bacon, though, it pleased Hodgkin to refer to himself
as a
figurative painter; and,
as with Bacon's suggestion that his own smeared agonies were realist, Hodgkin's use of the term
figurative seemed to most viewers of these sumptuously coloured
abstractions nothing more than a tease.
Reengaging with the iconography of previous bodies of work, the new paintings on view mark Osborne's return back to
figurative painting after a period of total
abstraction — utilzing bookcases, her studio painting storage, and windows
as a point of departure for further play with blocks of color within the paintings.
After experimenting with
figurative art, Spanish - born artist Esteban Vicente (1903 - 2001) immigrated to the U.S. in 1936, embraced
abstraction and teamed up with Abstract Expressionists like Mark Rothko, Jackson Pollock and Willem de Kooning, whose New York studio was on the same floor
as Vincente's.
He defined himself
as a
figurative artist who went through Abstract Expressionism, Geometric
Abstraction and a number of other styles of painting, but who had always been a
figurative painter because his greatest interest was in people.
These drawings emphasize the
figurative and symbolic foundation of Ortman's art, demonstrating the mechanics of his
abstraction and showcasing his extraordinary talent
as a draughtsman — an interesting aside for a geometric abstractionist shared by others of his generation such
as Ellsworth Kelly.
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, L
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, L
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, L
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, L
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, L
figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans
It wasn't surprising, then, that these abstract paintings, whose
abstraction never seemed absolute, soon had
figurative elements (mushrooms and tin cans) sprouting up in their midst, elements that Hawkins described
as «not non-representational».
Tuymans has specifically selected these artists for the individual nature of their practice and the paradoxical way each of them uses their medium —
as the artist himself is a
figurative painter who constantly seeks to extend the traditional boundaries of his own practice — Tuymans has sought to recognise a similar trait in the artists he has chosen to exhibit; their works collectively investigate the potential, formal and conceptual tensions within the notion of
abstraction.
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.
Elaine would credit Kline's introduction to the projector
as causing a «total instantaneous conversion to
abstraction» by Kline and a complete change in his style in painting from
figurative or semi-abstract work to full
abstraction.
From there, his almost flat, almost abstract works, with their contrasting planes of colour and reminiscences of doorways and cheerful bunting, provided Brazilian artists with a bridge between the bright,
figurative paintings of Brazilian modernists such
as Emiliano di Cavalcanti and Tarsila do Amaral and the geometric
abstraction of the 1950s Neo-Concrete movement and Grupo Ruptura.
His course is truly intriguing, having been repelled by the notion of the artist
as some kind of heroic figure, he chose to undermine and reject
abstraction to focus on an ironic,
figurative practice.
What's really of the moment about the work isn't its content
as such, but its meta -
abstraction — the treatment of
figurative imagery and nonfigurative gestures
as equal actors in an overall visual project defined by its mood rather than its meaning.
They allow Hepworth and other British artists like Henry Moore, Victor Pasmore, Ben Nicholson and Jacob Epstein to be seen in the context of European modernism —
as pioneers of the
abstraction that was sweeping away
figurative art.
Figurative elements are always present, but often seem to serve more
as vehicles for painterly
abstraction than for specific narrative.
Wall texts lay out his basic themes and motifs, from strange meditations on Donald Duck and the «tent paintings» in the 1960s to later works that took up symbols from Germany's Nazi past, and repurposed them
as surreal «dithyrambs,» a term borrowed from Greek poetry but reinvented by Lüpertz
as a catchall for his not - quite - abstract forays into
abstraction and not - quite -
figurative exercises in drawing real things in the world.
Wolk - Simon says that this new awareness helps to work through certain biases: «For a long time,
abstraction was modern art's preeminent triumph, and artists working in the
figurative tradition were not seen
as modern, but now with a renewed interest in Italian modern art comes a renewed interest in
figurative art.»
In fact this exhibition is organized in a way that allows the viewer to see the artist's progression from
figurative to
abstraction and how simple vegetal forms (the gnarly tree limbs, the nudes) would later reemerge
as twisted abstract forms mounted onto pedestals.
...
As he translates the rhythms of the urban landscape into increasingly abstract terms, without ever fully abandoning a
figurative impulse, Bradford deftly operates at the intersection of
abstraction and representation like few before him.
Using
figurative representation and playful geometric
abstraction, Brooklyn - based artist Ted Lawson is someone who loves to combine digital technology — such
as 3D printing — with traditional art methods to create organic fine art
as well
as large - scale sculptures that explore humanity.
Russeth reports that Baer spoke on her decision to leave the New York art world, her lesser known (in America)
figurative paintings, her experience
as a female artist, and her move away from minimal
abstraction.
Robert Jessup, until now a
figurative painter of allegorical scenes, presents a new body of gestural
abstractions that he describes
as an attempt «to become aggressively visionary... to reconfigure my invented world, to subvert the known and destroy the comfortable.»
Through a profound exploration of his personal relationship with
figurative painting over the years, compounded by his personal conception of
abstraction, with My Wall Tweedy achieves an deep understanding of his own history
as a painter, laying the foundation for a future of infinite possibilities.
Various movements, themes, and styles are represented, including Abstract Expressionism, Color Field painting, Pop art, and Minimalism,
as well
as aspects of New Image Painting from the 1970s and beyond, recent developments in
abstraction and
figurative sculpture, and contemporary movements in photography, video, and digital imagery.
Alex Katz emerged in the 1950s
as a
figurative painter in an age of
abstraction, challenging critics who shunned imagery in art, especially the figure.
Conceived
as the companion to Black in the Abstract, Part 1: Epistrophy, which explored the fragmentation of the
figurative as well
as the loose and expansive nature of
abstraction, this section chronicles the history of black artists whose work relies on the drama of restraint.
Grotjahn's geometric
abstractions employ disjointed vanishing points, the kind originally invented to create a convincing
figurative illusion but here swallowing up visual energy
as if some vividly chromatic black hole.
In an exhibition celebrating 10 years of his career, Mr. deCordova curated his oeuvre in groupings by theme: floral, energy - fueled
abstraction, compelling immigrant narratives that explore diversity and
figurative works that include pets
as memory connections to childhood pasts.
He sees
abstraction as a form of gesture or geometry, in a superimposed position, sometimes combined or mixed with new
figurative shapes.
2002, Havana): In his long career
as a painter, graphic artist and sculptor, Julio Girona has worked in a range of styles, from
figurative to symbolic
abstraction.
As a young painter coming into art in the early 1960s, Georg Baselitz (born 1938) was swift to reject the gestural
abstraction that had dominated European and American painting since the end of World War Two, embracing instead a bold
figurative expressionism.