Sentences with phrase «from other abstract artists»

It is in the painting itself that Burckhardt, who was born in 1964, distinguishes himself from other abstract artists of his generation.

In this regard, Newman stood apart from the other abstract artists of his generation.

Not exact matches

You refer to these as «abstract» or «geometric», and there are various examples of zigzags and dots adorning other caves, but the thing that sets these apart from images of bison and antelope, or shapes of hands, is that they are visual representations of something that the artists could not have witnessed.

Like other young artists trying to define themselves in the wake of abstract expressionism, Martin first experimented with found assemblages of detritus from the lower Manhattan docks.

From Norman Lewis to Joe Overstreet, the Harlem Renaissance — derived tradition of African - American abstract painting (which has historically had a primarily black audience) is intermingled with the tradition of so - called self - taught or outsider artists such as Bill Traylor and Bessie Harvey (whose audience has been mostly in the rural south and mostly black); the more recent wave of African - American conceptualism represented by Adrian Piper, Lorna Simpson, and others (whose work

Are the Asian - American artists inspired by abstract expressionists, or are they drawn to the Asian elements of the style, in turn appropriated from Chinese, Japanese and other non-western art and culture, from calligraphy, Sung painting and Zen Buddhism, from John Cage and DT Suzuki, from the Gutai artists and Sung painting?

The way the paint was applied to the canvas, or dripped on it, gave his abstract expressionism a level of distinctiveness in the similar way his personal life was different from other artists.

Around the mid-1950s, the artist began to make abstract paintings using his fingers or sticks, combs, leaves and other makeshift utensils to push oil paint around the surfaces of Masonite boards or cardboard taken from packing boxes at the bakery where he worked.

Unlike other artists working at the time whose work shifted gradually away from the representational, Malevich's leap into the abstract was sudden, conceptual and entirely premeditated.

Other artists create abstract landscapes that bring a different and necessary vocabulary in an exhibition that tries to address such a wide and contradictory array of topics and perspectives, from personal desires and dreams to historical processes.

Brilliantly combining world - serious and Miami playful, the Rubell Family Collection offered a mini-retrospective selected from its more than 6,300 works and 800 artists, as well as work commissioned for the exhibition from the likes of Mark Flood, Aaron Curry, Kaari Upson, Will Boone and, from newcomer Lucy Dodd, a room - long abstract painting inspired by Picasso's Guernica (watch her prices jump — the Rubells are opinion - makers, as we've seen with Hernan Bas among others).

An Opening Reception and Gallery Talk with the curator takes place on Sunday, August 7, 2016 from 5 to 7 p.m. «Innovation and Abstraction: Women Artists and Atelier 17» presents abstract graphics and works in other media by eight aArtists and Atelier 17» presents abstract graphics and works in other media by eight artistsartists.

While his imagery has changed several times over the years, the artist characterized himself as being «from the beginning, a minimalist abstract artist, a geometric abstractionist, with no recognizable shapes in my work» — other than circles, which have always captivated his imagination as «the perfect shape.»

Other highlights include a London re-staging of Daniel Buren's iconic New York performance piece Seven Ballets in Manhattan (1975)(From Fri 30 Jan, 3 pm and throughout Feb and Mar) and a work by Russian artist Anna Parkina (Sat 12 Mar, 7 pm) merging live music, light and movement in an immersive abstract performance.

The AAA also arranged for abstract artists from other countries to show with the group in America... Activities of this type culminated in the 1957 AAA publication, The World of Abstract Art [which is] to this date not only a major research tool but a seminal art document of the 1950s.»

I haven't seen their earlier work side by side since the «Sixteen Americans» show in 1959, and the juxtaposition suggests that what they share — and what sets them apart from other artists — is a unique relationship to abstract expressionism.

On the other end of the spectrum was Spanish artist Miguel Angel Garcia's pigment print View from the Empire State building Looking South, a scenic photograph abstracted by the painted red highlights of water towers throughout the city view.

In these two - venue talks, guides from the Clyfford Still Museum and the Denver Art Museum collaborate to compare and contrast the work of Clyfford Still and other male abstract expressionists with the leading female artists of the movement.

But each of the artists» works are also about the misjudgment of a real environment — a real chair made out of special rope (Campana); a box made of terracotta and glaze (Cherubini); a lamp made out of found metal (Coolquitt); an abstract painting titled after a transsexual (Ferris); and collage, deceptively flat - looking, made from among other things, feather and beads (Alvarez).

This includes paint (another tool at her disposal); Color Field painting; the brushstroke, squiggle, and line; Chinese and Japanese art; Indian miniatures; abstraction; figuration; abstract illusionism; inspirational posters; children's book illustrations; greetings cards; thrift store merchandise; wheels from bicycles, go carts, and strollers; buttons; embroidery and appliqué; mythology; essays on other artists.

Living and working in the United States and ranging in age from 25 to 46, the artists» influences vary from folktales to hip - hop, from non-western aesthetics to abstract painting, from tattoo design to black athletes, among others.

In a late interview he stressed that his reviews for the Nation and Partisan Review sometimes praised artists such as Edward Hopper and Arnold Friedman, and others whose work was far from abstract.

Like the other members of the group, Bush pursued abstraction as best he could, «abstracting» from nature in a manner derived from the illustrations becoming available in international magazines as well as from his practice as a commercial artist.

«Air Mail Stickers» will now be in the opening exhibition, along with other recent acquisitions by artists who are not American by birth but have resided here, including «July 4, 1967,» the Whitney's first work by the Japan - born conceptualist On Kawara, or «Blanco y Verde,» an abstract painting from 1959 by Carmen Herrera, the 99 - year - old Cuban - born artist, who now resides in Manhattan.

This section of newer galleries and younger artists held no surprises other than a predilection for abstract painting and the far - flung geographies from whence these originate.

She has countless smaller works from D'Metrius John Rice, a large abstract painting by Seth Adelsberger, and dozens of works from other artists I hadn't known.

After numerous public exhibitions of works that directly referenced or quoted from other artists» practices, Levine began making abstract paintings without specific source material in 1985.

A novel in the form of letters, this exhibition echoes the form by placing the artists works in dialogue with each other: Warren's elegant blue neon abstracts are suspended on one side of the space, while on the other side Dyer's curious pale sculptures sit arranged on a table like so many natural history specimens from creatures either long extinct or yet to evolve.

Living Colour This exhibition of artists» films looks at how colour has been turned into abstract screen images by Norman McLaren, Katy Dove and others in works from the 1920s to today.

That fact could be partially responsible for why so many iconic abstract drawings are done by artists that usually work in other mediums; because in their least guarded moments they casually drew something that expressed the truest nature of their ideas from deep within.

Still, who lived from 1904 to 1980, was considered one of the most influential of the American post-World War Two abstract expressionist artists, although he was not as well known as others such as Jackson Pollock.

It is a way, among other things, of inviting the unexpected... Instead of engaging in the essentially interior monologue that is characteristic of most abstract painting, the artist interacts directly with the outside world, incorporating fragments of it in the picture: scraps of paper, labels, enevlopes, wrappers, tickets, sheets of music, and pages from books» (Jack Flam, Motherwell, New York, 1991, p. 16).

From the famous «Erased de Kooning Drawing,» in which he both puckishly defied and meticulously paid tribute to his abstract expressionist contemporary, to his performance work with Merce Cunningham, John Cage, Trisha Brown and others, to his globe - spanning Rauschenberg Overseas Culture Interchange, which propagated new work with artists, poets and ordinary people in 10 countries, Rauschenberg was engaged in a kind of perpetual conversation.

Several artists navigate directly the main thematic map of the exhibition; others chose a more personal approach, looking at the presence of domestic workers in households, the public sphere, and the artists» lives, while another group of artists create abstract and poetic landscapes that bring a different and necessary vocabulary in an exhibition that tries to address such a wide and contradictory array of topics and perspectives, from personal desires and dreams, to historical processes.

PULSE's consistently strong showing of international exhibitors include GALERIE STEFAN ROEPKE of Cologne, Germany, who will be featuring photographic landscapes by Sharon Harper and abstract paintings by Julie Oppermann; Nieves Fernandez Gallery of Madrid, Spain, offering works from artists such as Jordi Alcaraz, Danica Phelps, Jeff Cohen, and more; Purdy Hicks Gallery of London, UK, displaying contemporary photographs and drawings from Susan Derges, Bettina von Zwehl, Claire Kerr, and Andrzej Jackowski; Lawrie Shabibi of Dubai, UAE, presenting mixed - media pieces by local artists Nadia Kaabi - Linke, Sama Alshaibi, Driss Ouadahi, and Shahpour Pouyan; and Zemack Contemporary of Tel Aviv, Israel, exhibiting a group show with Phellippe Pasqua, Ofer Lellouche, Yuval Yairi and others.

The avant - garde artists from Soviet Russia along with architects and designers from Netherlands and Germany as well as from the other European countries, gathered in newly formed Bauhaus school in Germany, with their exploration in visual and plastic arts, significantly contributed to the rise of abstract painting in the first decades of the 20th century.

Other works in the show range from the luminous marble of Carrara — long beloved by artists and architects as well as abstract sculptors such as Sergio Camargo — to concrete, which offers the artist new and entirely different plastic possibilities thanks to the interplay of cement and steel armatures.

The second part of the exhibition will be dedicated to European and American art from the 1970s until today, i.e. artists who further develop the abstract avant - garde trends with different accents (John M Armleder, Daniel Buren, Sylvie Fleury, Peter Halley, Imi Knoebel, Gerold Miller, Olivier Mosset, Michael Zahn, and others).

Not many art appreciators were there to block my view of Rob Pruitt's hilarious installation: big fancy abstract paintings twinkling with the artist's signature glitter, innertube objets encrusted with more sparkly «action painting,» and (literally) heavy - duty floor pieces composed entirely of cement - filled jeans (Levi's, Sasson, brands from every price point): Five stuffed pairs «sitting up» created a starfish; a snakelike lineup of several more doing splits straddled the floor like a team of torso - free cheerleaders; denim couples, oozing cement cellulite, spooned, mounted each other, and / or tempted one to sit on them like furniture.

Some consider Feeley part of the Color Field arm of Abstract Expressionism as well, while other critics such as Gene Baro saw an independent artist unrelated to the abstract expressionist legacy — «in the way that baroque art is remote from ancient Egyptian art and presumes different standards of value and habits of mind.»

For the exhibition, which first opens at Yorkshire Sculpture Park before touring to other venues around the UK, Gander has selected works from 30 different artists featured in the Collection, pairing figurative sculptures with other artworks containing the colour blue, which to Gander represents the abstract ideas often found in modern and contemporary art.

Abstract fine art photographer Julie Patrick draws inspiration from the Impressionists painters and abstract artists such as Picasso seeking in her work to blur the line between photography and other mediums.

Abstract Expressionism also provoked avant - garde responses from several other artists including Cy Twombly (1928 - 2011), whose calligraphic scribbling is part - drawing, part - graffiti; and the Californian abstract sculptor Mark Di Suvero (b. 1933) noted for his large scale iron / steel sculptures.

These include works ranging in style from expressionistic to surrealist to cubist by Patrick Collins, Mainie Jellett, Colin Middleton, Jack B Yeats and others; abstract paintings by artists such as Josef Albers, Cecil King and William Scott, and more gestural works by Tony O'Malley and Richard Gorman.

Be sure not to miss booths by Azart Gallery from New York, focusing on innovative and original work of artists influenced by abstract, figurative, illustration, pop culture and street art; En Foco Gallery from Chicago, a non-profit that supports contemporary primarily U.S. - based photographers of African, Asian, Latino, Native American and Pacific Islander heritage; Haven Gallery from New York, exhibiting emotionally, intellectually and imaginatively driven, representational artwork; Lilac Gallery from New York, focusing on emerging international artists that explore new media in their concept with cutting edge techniques; Mirus Gallery San Francisco, championing new movements in contemporary art; and Stephen Romano Gallery from New York, amongst others.

These established Synchromism as an influence in modern art well into the 1920s, [4] though followers of other abstract artists (principally, the Orphists Robert and Sonia Delaunay) were later to claim that the Synchromists had merely borrowed the principles of color abstraction from Orphism, a point vehemently disputed by Macdonald - Wright and Russell.

In addition great cubists, abstract artists, and others from the School of Paris had come over, too, among them Piet Mondrian (1872 - 1944), Marc Chagall (1887 - 1985) and Jacques Lipchitz (1891 - 1973).

I'd argue that it's less interesting to see a Gerhard Richter painting paired with another Richter painting (abstract or figurative), or hung with a work from the same period made by an artist on the other side of the Atlantic (which is what lots of curators and collectors do now).

In 1959, he painted Tomlinson Park, part of the Black Paintings series that catapulted his career when he was just 23 years old and influenced other artists of his generation to move away from abstract expressionism and create work that was more painterly, more thoughtful and more experimental in terms of the use of space in and around the canvas.

Kelly's rational and formal style of painting is drawing on the Russian Constructivist tradition, in particular Kazimir Malevich, as well as Piet Mondrian of the De Stijl movement, in addition to artists from abstract movements such as Jean Arp, Richard Diebenkorn and Ellsworth Kelly, among others; all are known for working skilfully with simple shapes and lines.