Sentences with phrase «from gestural»

Characterized by controlled, hard edge, and stain techniques, this loosely formed group moved away from the gestural pictures of their predecessors, the Abstract Expressionists.

Intentionally deviating from the gestural flatness in the work of Pollock and other Abstract Expressionists, Steir instead explores a contemplative condition of unbound perception.

At Frieze New York, Alexander Gray Associates presents paintings and drawings by Jack Tworkov, charting the evolution of the artist's career from gestural abstract expressionism in the 1950s to a conceptual approach to geometric abstraction beginning in the late 1960s and 1970s.

These paintings generally had monochrome backgrounds, an aesthetic that anticipates Pop Art, and that also set him apart from the gestural work of his contemporaries.

In simple terms, Greenberg was highlighting a trend away from gestural - type abstract expressionism - including the gesturalism of Willem de Kooning, the «action - painting» technique of Jackson Pollock, and the use of textural effects - towards greater use of broad areas of unmodulated colour.

In the late 1960s, Motherwell began his Open series, a striking departure from his gestural paintings.

Minimalism was the final stage in the logical development of Abstract Expressionism, whose style went from gestural (action - painting) to plane - work (colour field painting) to sharply defined geometrical planes and patterns (hard edge painting) to Minimal Art.

The title of the show became a term for the movement, distinguishing color field painting — and its often anonymous hand — from gestural abstraction.

In the 1950s, still in the wake of the oppressive experiences of wartime and in distinction from the gestural painting of Europe's brand of abstract expressionism, art informel, ZERO consciously elaborated a monochrome pictorial language suffused with light.

Influenced by Barnet, Daum and several other students, including Robert Barrell, Peter Busa, and Steve Wheeler, were drawn to Native American art and moved away from the gestural abstraction taught by Hofmann.

JG: Looking back at your earlier work, you seem to have moved from gestural abstractions to super geometric and tight images, and now you kind of incorporate the two.

This deliberate departure from the gestural style of Abstract Expressionism shocked the art world in the early 1960s.

Concrete Alphabets is a group exhibition that brings together 6 contemporary artists working in the medium of analog painting, all of whom concentrate on the material qualities of letter - based work from gestural, abstract, calligraphic, hieroglyphic, and more.

These old Master reinterpretations have evolved over the last 2 years from gestural abstract to fully rendered as this painting is.

«Giving Up One's Mark: Helen Frankenthaler in the 1960s and 1970s,» charts a 20 - year period in the artist's career during which she transitioned «from oil to acrylic paint, and from gestural abstraction to robust images of consolidated color and tonal nuance.»

Things cool off in the next room, in which geometric precision takes over from gestural impulse.

Concrete Alphabets is a group exhibition that brings together 6 contemporary artists working in the medium of analog painting, all of whom concentrate on the material qualities of letterbased work from gestural, abstract, calligraphic, hieroglyphic, and more.

In the early 60's, inspired by the work of senior painters like Piet Mondrian and Josef Albers, Jackson moved away from the gestural style that had marked his work of the» 50's, developing his signature style of austere, hard edged geometric compositions on square and diamond shaped canvases.

In the 1940s and 50s there emerged a type of abstraction that differed from the gestural and aggressive style of Abstract Expressionism, one where color would become the subject.

Beginning with his earliest work, Diebenkorn sustained virtuosity in not one, but many different styles, from the gestural Abstract Expressionist paintings of his Sausalito, Albuquerque and Berkeley series, to the Bay Area Figurative movement, and finally, the consummate splendor of Ocean Park.

For the first time Europe — still emerging from the shadows of the second World War — had seen a new artistic language emerge from the gestural mark - making of these American artists.

Although sharing the interest in myth and primitive unconscious with Abstract Expressionists, his enormous colored canvases with trademark «zips» moved him away from the gestural abstraction of his contemporaries.

Formed in collaboration with Otto Piene, a fellow student at the Kunstakademie Düsseldorf, the ZERO movement departed from the gestural language of European abstract expressionism and sought to reclaim an artistic purity from the ravages of the Second World War.

From the gestural abstraction painting of Cosmic Slop «Black Orpheus» (in which black soap and wax are slathered in high relief) to the arcane photographic processes used to make lines of feet look like dental x-rays in Untitled, Manumission Papers, Johnson does it all.

At this time there was a general shift from the gestural abstraction of the Abstract Expressionists to imagery drawn from popular, commercial culture.

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

Helen Frankenthaler is a similar figure, understood as founding the transition from gestural painting to color field painting.

Minimalism emerged in the late 1950s when artists such as Frank Stella, whose Black Paintings were exhibited at the Museum of Modern Art in New York in 1959, began to turn away from the gestural art of the previous generation.

It also brought a new, open airiness to the painted surface and was credited with releasing color from the gestural approach and romantic rhetoric of Abstract Expressionism.

However, Color Field painting has proven to be both sensual and deeply expressive albeit in a different way from gestural Abstract expressionism.

Her paintings draw on various traditions of abstraction from gestural and geometric, hard - edge styles.

In the 1990s, Bluhm's multi-panel, mural - scale paintings offered a compelling summation of his own career (he never turned away from gestural painting, but daringly assimilated it into geometric structures) and, even more importantly, an audacious project to reconcile some five centuries of painting history, stretching from the Lorenzetti brothers in 14th - century Siena and passing through Botticelli, Rubens, Tiepolo, Cézanne, Matisse and de Kooning.»

Not exact matches

Gestural Design: The winery's lobby features an elliptical shape, curving staircase, and reclaimed wood walls from a local barn, recalling a wine barrel.

While gesture may be the first step in language evolution, the psychologists also found evidence that the evolutionary pathway from gesture to human language included the «co-evolution of gestural and vocal communication.»

The child's transition from gesture to symbol could be a developmental model of the evolutionary pathway to human language and thus evidence for the «gestural origins of human language,» Greenfield said.

The input method requires little effort from users and introduces minimal fatigue over other input methods that require more extreme gestural movements.

The images, lucid and confrontational, exude an almost gestural quality as they cut from interior and exterior spaces, with Yorke waltzing in a sleep - like torpor toward a hole — or spacious studio igloo?

[Pat Steir] sees her overwhelming «From the Sea» drawings, huge (60 by 100 inches), totally gestural works -LSB-...] as inspired by the Japanese artist Hiroshige and by Courbet, who imbued his nature paintings with a heavy sensuality.

Showing work made over this expansive time period will offer an insight into Hodgkin's relationship to India while also revealing the evolution of his pictorial language — from the figurative work of the 1960s through to the dynamic, gestural style of recent years.

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.

In «The First of May,» a large canvas from 1960, he paints a landscape of soft colors dominated by a towering plane tree whose branches and leaves are rendered in a swirl of strokes evoking Mr. de Kooning's gestural style.

Drawing her subject matter from nature and often incorporating found objects into her pictures, Warren's compositions are richly textured and boldly gestural.

Ranging from almost pocket - sized painting to the attention demanding large - scale, 60 x 62 inch canvases, Yossifor's abstract, gestural paintings show thickly applied paint, worked across the canvas in sometimes long, sometimes short strokes.

The exuberance and the gestural approach that was a condition at the birth of his paintings from the»50s could not be «maintained without pretense forever.»

As disparate as the artistic approaches appear to be in Rothko to Richter, what united the painters throughout the period was a commitment to process, as artists explored a range of brushwork techniques, from audaciously gestural ribbons of built - up paint to vibrating fields and soft washes of color to hard - edged geometries.

In the last few years New York - based artist Michael Williams (born 1978) has evolved from making large gestural oil paintings to similarly scaled paintings printed with a billboard - sized inkjet printer.

1999 AC Project Room, New York, N.Y. Staff USA Gallery «Goldberg, Kamitaki, Beckett» New York, N.Y. Galerie Albrecht Minimal.Emotional» (Goldberg, Hofmann, Mills, Su) Munich, Germany Parsons School of Design Galleries «Drawing in The Present Tense» curated by Roger Shepherd and George Negroponte (catalogue) New York, N.Y. Zeitgeist «Monotypes» (Glenn Goldberg, Will Berry) Nashville, TN 1998 Hill Gallery Birmingham, MI 20th Century Art L.I.C., N.Y. 1997 20th Century Art L.I.C., N.Y. Galerie Albrecht Munich, Germany Rose Art Museum «Works From The Collection» Waltham, MA 1996 Knoedler & Co., New York, N.Y. Hill Gallery, Birmingham, MI 1995 Hill Gallery, Birmingham, MI The Work Space «Wacko» New York, N.Y. Galerie Albrecht «Gosewitz / Goldberg» Munich, Germany Edward Hopper House «Goldberg / Wiley» (videotape) Nyack, N.Y. 1994 Hill Gallery Birmingham, MI The Academy of Arts & Letters «46th Annual Academy Purchase Exhibition» New York, N.Y. Baxter Gallery of Art «Intimate Observation» curated by Jennifer Gross Portland, ME Castle Gallery «Toys / Art / Us» curated by Lori Friedman New Rochelle, N.Y. 1993 New York Studio School «Formative Past: Present Form» New York, N.Y. Galerie Albrecht «Baechler, Goldberg, Hofer, Roiter» Munich, Germany Robert Morrison Gallery «Goldberg, Humphrey, Koorland» New York, N.Y Castelli Gallery «Drawings: Foundation of Contemporary Performance Arts» New York, N.Y. 1992 Germans Van Eyck Gallery «Play Between Fear And Desire» curated by Jennifer Gross New York, N.Y. Rosenthal Fine Art «Glenn Goldberg - Josef Ramaseder» Chicago, IL Angles Gallery «Numbers» Santa Monica, CA David Beitzel Gallery «Paper Houses» New York, N.Y. Betsy Senior Gallery «Goldberg, Mangold, Row, T. Winters» New York, N.Y. Galerie Theuretzbacher «Against The Grain» (catalogue) Vienna, Austria 1991 Bellas Artes Gallery «Masterworks of Contemporary Painting, Sculpture and Drawing: The 1930's to the 1990's» Santa Fe, New Mexico Hill Gallery Birmingham, MI Museum of Contemporary Art «The Scott Spiegel Collection» Los Angeles, CA 1990 Wetterling Gallery (catalogue) Stockholm, Sweden Madison Art Center «Intimate Inventions / Gestural Abstractions» Madison, WI.

The Jewish Museum presents an exhibition of 32 paintings by Chaim Soutine (1893 - 1943), the Expressionist artist known for his gestural and densely painted canvases, from May 4 through September 16, 2018.

It is generally recognized that Jackson Pollock's abstract drip paintings, executed from 1947, opened the way to the bolder, gestural techniques that characterize Action Painting.

The range is fantastic, and I think indicative of contemporary trends within the medium: angular figures and aggressively colorful compositions in a New Objectivity vein from very young, non-German artists including Anna Navasardian (Armenian but New York - based, showing with Galerie Andreas Binder, Munich) and Pawel Sliwinski (Polish, showing with Beers Contemporary, London); representational works in thick, gestural impasto, both in Kim Dorland's grand, en plein air style (Angell Gallery, Toronto), and in Bobby Mathieson's intimately scaled portraiture (Lyons Wier Gallery, New York); and abstraction both super-reductive (like Clare Grill, showing with FRED.GIAMPIETRO, New Haven) and cosmically colorful (Jennifer Lefort, showing with Patrick Mikhail Contemporary, Ottawa); plus every conceivable style in between.