Sentences with phrase «figurative abstraction by»

He is interested in further developing his interest in figurative abstraction by using only a silhouette, which is placed within the composition using graphite.

Not exact matches

The exhibit will include stunning hyper - realistic work by Churchill - Johnson — stark political statement contrasted with delicate, minimalist abstraction by Uyesaka — deeply engaging abstract oils by Scorzelli — dynamic and powerful ceramic insights by Rosenberg - Dent — fanciful, abstract adventures by Lehrer — an unsettling mixed - media installation with video by auto - expressionist, Metrov — striking figurative vs abstract works by Ferris — a lively «abolish blandness» painting by Lytle contrasted with fabulous yarn work from the early 90's — and a pair of McCracken's, always delightful, miniatures.

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.

Organized by Paul Schimmel, this selection of 36 paintings and 53 drawings, traces the development of Guston's work during this transitional period from abstraction to the beginnings of his iconic figurative works.»

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.

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.

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.

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.»

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.

The works in Surrealism USA are borrowed from public and private collections in the United States and abroad, and all aspects of the Surrealist movement in America are represented: the figurative depictions of a fantasy world by Peter Blume, Dorothea Tanning, and Helen Lundberg; the social surrealism of O. Louis Guglielmi, James Guy and Walter Quirt; the imaginary landscapes of Kay Sage and Yves Tanguy; Joseph Cornell's enigmatic and poetic constructions; the lyrical abstractions of Arshile Gorky and William Baziotes; the automatic experiments of Jackson Pollock and Gerome Kamrowski.

In Paris, Abboud was influenced by the works of Pierre Bonnard, Roger Bissière and Nicolas de Staël, and began to shift from a Lebanese tradition of figurative and landscape painting to colourful abstraction.

This collection is broken up into four sections categorized by Landscapes, Figurative, Florals, and Abstraction.

The cozy NEWD Art Show, on Johnson Avenue, featured the Lower East Side gallery Regina Rex, which displayed several of Hannah Barrett's playfully deviant folk - arty takes on the traditional portrait and still life; Greenpoint's 106 Green, an artist - run space showing gently noirish figurative paintings by Beijing - raised Xinyi Cheng; and Greenpoint Terminal, offering Eric Shaw's meticulous but sardonically wobbly hard - edge abstractions.

Pulsing against this steady figurative impulse are commanding abstractions by James Brooks, de Kooning, Kelly, and Gene Davis.

The landscape dominated American painting throughout the 19th century and well into the 20th, and though it continued to have practitioners thereafter (Fairfield Porter, for example), it was overshadowed, along with figurative painting in general, by various styles of abstraction from Cubism to Minimalism.

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.

A selection of works by Keith Haring, Kenny Scharf, Jean Michel Basquiat, Katherine Bernhardt, Tyson Reeder, Joe Bradley, Chris Martin, Sarah Braman and many others, sketch a story that slides from figurative iconography to totemic abstraction, charting a world in churn; in print, in space, and on canvas.

Gagosian, meanwhile, presents an exhibition of paintings, drawings, and photographs by Balthus, a modern maverick who continued to produce figurative works in a period dominated by abstraction (26 April — 29 July).

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, Lfigurative 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, LFigurative 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, Lfigurative 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, Lfigurative 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, Lfigurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

His work is characterized by a figurative imagery mixed with abstractions.

By combining the motif inherent in the Penguin book, Miller found a way to marry aspects of Pop Art, abstraction and figurative painting at once, with his writer's love of text.

Somewhere in the exhibition's development, the title «Reinventing Presence» was changed to the snappier Tightrope Walk — which comes from an observation by Francis Bacon about his «tightrope walk between what is called figurative painting and abstraction».

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.

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.

While during the 1940s Arshile Gorky's and Willem de Kooning's figurative work evolved into abstraction by the end of the decade.

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.

Figurative art is characterized by partial abstraction.

Strongly influenced by the work of the abstract expressionists and the romantic light of the old masters, Rayer - Smith's large oil and acrylic paintings effortlessly fuse abstraction, the figurative and the surreal.

These depictions, considered his early work, are marked by an expressive figurative style, somewhere between representation and pure abstraction.

Moving from figurative depiction, both artists are diving into a sphere of abstraction and dynamics, opening up their pictorial dialogue by exploring the abstract landscapes which emerge through the amalgamation of their creational spirits.

If you'll be in Switzerland this month, stop by St. Moritz's Vito Schnabel Gallery to see The Age of Ambiguity: Abstract Figuration / Figurative Abstraction.

From large scale gestural abstraction to tiny figurative and interior meditations, reaching across styles and genres from modernist art to mashups of contemporary culture will be presented side by side.

Several galleries are offering two - and three - person booths, with Luis De Jesus Los Angeles presenting expressive, figurative paintings and sculptures by Erik Olson and and process oriented abstractions by Andre Hemer; New York's Albertz Benda featuring dynamic abstract ceramics by Brie Ruais and John Mason; NYC's Magenta Plains displaying mythically minded canvases by Bill Saylor and Zach Bruder; and Nathalie Karg Gallery, another New York venue, presenting minimalist paintings by Nathlie Provosty and Nancy Haynes and classical realism with a twist by Jesse Mockrin.

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.

1993 Merce Cunningham Dance Company Benefit Art Sale, 65 Thompson Street, New York, USA I am the Enunciator, Thread Waxing Space, New York, USA Darkness and Light, Blaffer Gallery, University of Houston, USA (curated by Marti Mayo) Zeichnungen setzen Zeichen, Galerie Raymond Bollag 1, Zurich, Switzerland 44 Kunstler der Documenta IX: Arbeiten auf Papier Rewriting History: The Salon f 1993, Montgomery Glasoe Fine Art, Minneapolis, USA Painting, Texas Gallery, Houston, USA Drawing the Line Against AIDS, Peggy Guggenheim Collection, Venice, Italy (Under the aegis of the 45th Venice Biennale — Reinstalled at the Guggenheim Museum Soho, New York) XLV Biennale di Venezia, Italy, Tresors de Voyage (al Monastero dei Padri Mechitaristi dell» isola di San Lorenzo degli Armeni) Abstract — Figurative, Robert Miller Gallery, New York, USA Eight Painters: Abstraction in the Nineties, Carl Solway Gallery, Cincinnati, USA Living with Art: The Collection of Ellyn & Saul Dennison, Morris Museum, Morristown, USA

In another set of interactions, works by the perennially influential Philip Guston appear across three generational shifts: a Social Realist drawing of Klansmen, dated 1930, hangs amid politically progressive paintings by Jacob Lawrence (the great War Series from 1946 - 47), prints by Louis Lozowick, Hugo Gellert and Mabel Dwight, and photographs by Dorothea Lange, Margaret Bourke - White and Walker Evans; his modestly scaled abstraction, «Dial» (1956), is installed between Mark Rothko's imposing «Four Darks in Red» (1958) and Louise Bourgeois» classically phallic «Quarantania» (1941) in the galleries devoted to Abstract Expressionism; and a large, brooding, late figurative canvas of heads, shoes and eyeballs, «Cabal» (1977), turns up beside paintings by artists twenty - five to thirty years his junior, along with one from Cy Twombly, who was two years older than Guston, born in 1911, and one by Alma Thomas, who lived from 1891 to 1978.

In this exhibition, explorations into abstraction sat alongside a renewed focus on the figurative - a focus that is increasingly informed by recent colour - saturated works and experiments with process.

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.

Viewing these pieces side by side, the mysterious along with the cheerful, the cartoon beside the photograph, only lends weight to the idea that figurative painting can contain its own strange dimensions and abstractions.

Several of the city's cultural institutions will also showcase art there, including the New York Academy of Art, which will feature figurative work by its international students, and El Museo del Barrio, which presents an exhibition of modernist abstractions related to optical and kinetic art movements.

Laureano García (b. 1922, Sancti Spiritus): An architect by training, Garcia has designed parks and residential buildings, and his murals and paintings — García is particularly known for his still lifes — combine abstraction and geometry with figurative elements.

The premise of this group show, curated by critic and poet Barry Schwabsky, is that after the earthquake caused by abstraction in the early 20th century, figurative painting could never possibly be the same.

Barbara Thumm, from Berlin, brings early paintings by Jo Baer: Who remembers that an artist associated with geometric abstraction, once did, and is now again doing, big, Surrealist - inspired figurative things?

His early works, from the first half of the 1930s, are marked by an exaggerated figurative style, but by the late 1930s Still began to simplify his forms, shifting from representational painting to abstraction.

This group of classic works by the American painter Alex Katz from the 1980s shows how he kept the ideals of figurative painting alive during a time when abstraction was at the forefront of the discipline.

Quickly abandoning his figurative approach, he began to explore abstraction in vibrant yet delicate works inspired by artists such as Paul Klee.

By synthesizing extremes of immediacy and meditative distance, and by rendering the ephemeral movements of abstraction through techniques usually reserved for figurative subjects, Vance depicts reality in the act of making itself seen, before it has had the chance to conform to expectationBy synthesizing extremes of immediacy and meditative distance, and by rendering the ephemeral movements of abstraction through techniques usually reserved for figurative subjects, Vance depicts reality in the act of making itself seen, before it has had the chance to conform to expectationby rendering the ephemeral movements of abstraction through techniques usually reserved for figurative subjects, Vance depicts reality in the act of making itself seen, before it has had the chance to conform to expectations.