Sentences with phrase «from small abstractions»

A trove brimming with variety, from small abstractions, lyrical figuration, to taped performances, and their associated sculptural sets, Brātescu's protean energies were a welcome surprise.

Not exact matches

Another says that space and time are discrete at the smallest scales, emerging from abstractions called «spin networks ``.

move back and forth between abstraction, figuration and the combination of the two a lot in my work as well as changing scale from very small to very large....

Text 2018 Ted Stamm Woosters, essay by Alex Bacon, Lisson Gallery, ISBN 978 -0-947830-67-0 2018 From Stasis to Kinesis: The Woosters of Ted Stamm by Robert C. Morgan, Art Critical, April 2018 2018 New York: Ted Stamm at Lisson Gallery by E. Macdonald, Art Observer, April 2018 2017 Ted Stamm: DRM 1980, The Estate of Ted Stamm and Karma, New York, ISBN 978 -1-942607-66-3 2013 Ted Stamm: Marianne Boesky by Robert Pincus - Witten, Artforum, Summer 2013 2013 Ted Stamm: Paintings at Marianne Boesky by Will Heinrich, Observer Culture, April 2013 2013 Revisions: Another Alan Uglow and Ted Stamm's Minimalisms by Saul Ostrow, Art Experience: New York City, 2013 2012 Times Square Show Revisited by Robert Pincus - Witten, Artforum, December 2012, pp 274-275 1997 Painting Advance Stamm 1990 (1989) by Robert C. Morgan, Between Modernism and Conceptual Art, 1997 Published by McFarland & Company, Inc., 1997, ISBN 0 -7864-0332-2 1990 Painting Speed by Tiffany Bell, Art In America, November 1986, pp 140-143 1990 Reconstructivism: Neo Modern Abstraction in the US by Peter Frank, Artspace, March / April 1990 1990 Rekonstructivisims: Neo Moderne Abstraktion in der Vereinigen Staaten by Peter Frank, Kunstforum, January 1990 1986 Ted Stamm Painting Advance 1990, essay by Tiffany Bell, Hillwood Art Gallery, C.W. Post College, curated by Per Haubro Jensen 1985 Constructures: New Perimetries in Abstract Painting by Peter Frank, essay for exhibition Nohra Haime Gallery 1984 Can Small Works Carry It Off by William Zimmer, essay for small works exhibit, Muhlenberg College, pp. 9 Small Works Carry It Off by William Zimmer, essay for small works exhibit, Muhlenberg College, pp. 9 small works exhibit, Muhlenberg College, pp. 9 - 10.

Intimate Abstraction - March 7th - April 5th 2013 The title of this exhibition derives partly from the size of the gallery and the choice of smaller works to include in it, but more importantly from the layers of meaning in the word intimate.

Gradually she began abstracting from the still - life images, pulling apart the compositions, re-introducing the grid, and arriving at a kind of abstraction where the original image has almost completely disappeared and small geometric units remain supreme, producing an illusion of subtle gradations and nuanced change across the surface.

«Exhibit B» has small abstractions in a loose, colorful style familiar enough from any number of artists, from Willem de Kooning to Cecily Brown and Cecily Brown drawings long since.

One could imagine a show more truly dedicated to the small and its possibilities, from fine - grained abstraction to bolder narratives and sinister objects.

A small selection at Klaus von Nichtssagend moves easily from the Flatiron Building for Robert Moskowitz to abstraction in the present — with David Scanavino, Michelle Lopez, and Julia Rommel.

Paintings and some small sculptures, predominantly black and white, ranging from pure to figurative abstraction; photo collages on paper and aluminum panel.

It draws on significant loans, such as a small, dense, black tiling from Princeton University and a large, colorful, messy abstraction from the Guggenheim.

Already in its first, small room — in the opposite direction from the office — one has the black paintings, the abstractions largely in primary colors, and the women.

The resulting drawings range from small - scale abstractions to monumental figures and scrolls, which demonstrate Ramírez's unique draftsmanship of concentric lines, undulating patterns, and surreal topography.

The dense, small - scale paintings included in this exhibition mark a highly prolific period in Mondrian's engagement with figurative landscape painting — an early but deeply significant stage in the artist's methodical progression from naturalistic representation to complete grid - based abstraction.

Michael Rosenfeld: It's a remarkably small group of African American artists, who chose the path of abstraction from that generation that was born around the turn of the century.

Pace Gallery's Blackness in Abstraction show, on view in Chelsea through August 19, includes a smaller set from this series, though the shapes there are the size of paving stones and are highly polished and reflective.

Scattered among these new paintings are a selection of small hand - painted abstractions from previous chapters which the artist calls «captions.»

Young São Paulo - based painter Lucas Arruda has made quite an impact with his small and systematic oil paintings which conjure atmospheric — indeed, romantic and panoramic — landscapes from the very verge of abstraction.

CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University of Tennessee, Murray Territory of Abstraction, Pentimenti Gallery, Philadelphia, PA Out of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum of Art, Greensboro, NC (brochure) Islands of Order in a Sea of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating Images / General Public, Berlin, DE; Fluctuating Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.

K. - 9 1953 (Life Line), a lively abstraction from 1953, features a large number of small shapes that seem to nod to Matisse's cutouts, light the way for Hockney, and take the appearance of Hebrew letters all at once.

This exhibition (the first on the artist at Thomas Dane) presents new works by Merz, who is now in her nineties: from portraits — which continue her interest in the border between figuration and abstraction — and small fired clay heads, to works on paper.

A retrospective exhibit of her work 10 years ago reviewed the evolution of her stringent abstractions, from grids and small shapes like ovals and squares to pure bands of luminous color.

While completing graduate studies in France, I taught Modern Art History: From Impressionism to Abstraction at the Lacoste Institute's School For the Arts in France (1991) in Lacoste a small village 40 miles south of Avignon, famous for the Marquis de Sade's chateaux and for being a haven for the Surrealists during the second world war.

But the standouts here are 14 radiant abstractions from her last 30 years that parlay these inclinations into a distinctive yet flexible style of saturated monochromes interrupted by small episodes of two or three astutely contrasted colors.

Don't miss, among others, Jessica Dickinson's crudely elegant abstractions at Altman Siegel... on the same floor at 49 Geary St., Fraenkel Gallery's presentation of «Six New Animations,» ingeniously constructed by Christian Marclay from photographs of the sidewalk on strolls about town... more video, the best work in an exhibition by Argentine Mexican performance art master Miguel Angel Rios at Gallery Wendi Norris... «Teresita Fernández: Small American Fires,» burning intensely at Anthony Meier Fine Arts... and the small but museum - class retrospective of the optically challenging, intellectually exciting paintings of Bridget Riley at John Berggruen GalSmall American Fires,» burning intensely at Anthony Meier Fine Arts... and the small but museum - class retrospective of the optically challenging, intellectually exciting paintings of Bridget Riley at John Berggruen Galsmall but museum - class retrospective of the optically challenging, intellectually exciting paintings of Bridget Riley at John Berggruen Gallery.

Varying from monumental landscapes to small - scale abstractions, Klein's atmospheric paintings reference images taken from a variety of locations that accumulated in the artist's digital and analog archive over the past decade.

Elijah Burgher makes small, colored pencil drawings that utilize ideas from magick and the occult to address sexuality, sub-cultural formation and the history of abstraction.

A small 1958 canvas collage by Conrad Marca - Relli hangs alongside a powerful ink - on - paper abstraction by Franz Kline from 1952.

These paintings, created in multiple small - scale series, allow for repeated methodical experimentation with specific color fields and patterns, shifting away from the monumental scale of midcentury abstraction.

Last month's letter concerning the state of abstraction in England makes Jonathan Lasker's small paintings on paper at Timothy Taylor and Hauser and Wirth's exhibition of Joan Mitchell's paintings from 1961 - 62 seem like standout shows of the summer.

At Fred Giampietro, Jonathan Waters presents small abstractions painted on the backs of old nautical charts and some beautiful small sculptures crafted from solid steel.

Since late October, visitors have been confronted by a mural of sorts — a sprawling collection of canvases, big and small, rendered in a variety of styles ranging from Academic Realism to Expressionism to Pop to post-painterly abstraction — by LA - based artist Mark Flores titled See This Through, 2009 — 10.

His early work — forceful abstractions, ranging from large canvases to small collages — soon made his name as a second - generation Abstract Expressionist (1), part of a group of young New York School artists that included Grace Hartigan, Norman Bluhm, Michael Goldberg, Al Held, and Joan Mitchell.

From then until his death, in 1980, at 66, * Guston left abstraction behind and made some of the most memorable and influential paintings of the late 20th century, big and small: huge, gloppy, opaque - colored images of Ku Klux Klansmen driving around in convertibles, smoking cigars; cyclopes heads, in bed, staring at bare lightbulbs; piles of legs and shoes; figures hiding under blankets, clutching paintbrushes in bed.

In a large painting and several small works on paper Patricia Treib continues her breezy exploration of shape and color, while Nick Goss contributes a tabletop of unpainted plaster figures cast from elaborately folded wooden models as well as one large painting and two drawings, deftly straddling abstraction and representation.

Ruscha, showing a surprising interest in the new abstract painting, has canceled out phrases appropriated from gangster movies - «You Cross Me I Wan na See Blood» - on small canvases, producing Suprematist - like abstractions.

Assemblage A small, colorful 1979 John Chamberlain sculpture bridges from abstraction to assemblage.

Smaller in scale than those paintings of her 2014 debut exhibition, the new work matches in surreal ebullience their predecessors, praised by Roberta Smith as «big, boisterous semi-abstract canvases (that) exude an impressive confidence... like close - ups of billboards or a tour through some outsize undergrowth in which nature has merged with several brands of abstraction, from early American Modernism to Color Field painting... (Silva) is already is tackling a lot with an astuteness and aplomb that make her a painter to watch.»

[12] Her painting style changed in 1947, turning from small landscapes and portraits into a bold, subjective abstraction when she began to make constructions from bits of wood and other materials that washed up on the beach near her home; [18] most often her constructions reflected the area around her North Fork home, but sometimes the pieces reflected her travels to the Caribbean and abroad.

Although the museum's selection of post-war abstraction may be relatively small, I found E, a terrific mid-scale Adolph Gottleib painting from 1949, hanging on the second floor.

In recent years, she has transitioned from paper to canvas, producing smaller - scale works that hover between representation and abstraction.

«Abstraction / Figuration,» a dense, various and luminous exhibition of figurative sculptures and nearly 50 small works on paper, most from the past decade, reminds us just how fresh and exhilarating Abstract Expressionism, in the right hands, continues to be.

Often blurring the lines between figurative and geometric abstraction, the canvases from this period are characterized by painterly brush strokes and expansive compositions, often broken into smaller geometric regions of color and pattern.

2008 Abstract Expressionism: A World Elsewhere, Haunch of Venison, New York, NY Peggy Guggenheim and the New American Painting, Peggy Guggenheim Collection, Vercelli, Italy Beyond the Canon: Small - Scale American Abstraction, 1945 - 1965, Robert Miller Gallery, New York, NY Repartir à Zéro, 1945 - 1949 (Starting from Scratch), Musée des Beaux - Arts de Lyon, Lyon, France