Since its publication, a whole
new generation of painters has emerged, some inspired by the artists who appeared in that book, others taking cues from new sources.
A
young generation of painters combines a sensual enjoyment of color and format, gesture and storytelling, with a complex understanding of how digital media shapes the present.
Although it certainly privileged painting, Big Youth was not an annunciation of Chicago's new
generation of painters in the traditional sense — there was no indication that the viewer was supposed to experience the birth of a specific movement; it refused summarizing the works as a pointed statement on the state of contemporary painting.
De Keyser has been a leading influence on a new crop
of generation of painters, including Luc Tuymans, Rebecca Morris and Tomma Abts.
This exhibition reveals his influence
on generations of painters, who all sought to replicate that stygian wonderland of light and shadows.
This is part of what Pop art achieved and what
subsequent generations of painters do when they work from photography: they estrange it enough to make its deepest impact thinkable.
The dynamic rhythms of modern life energized artists like Georgia O'Keeffe and Joseph Stella, while artists such as Willem de Kooning and Franz Kline reveled in the freedoms and frustrations of abstraction, and in turn inspired the
next generation of painters such as Richard Diebenkorn and Kenneth Noland.
Her psychologically penetrating portraits and outspoken personality, made her a cult figure in the art community during the last two decades of her life, in which her visual language has had a major impact on
successive generations of painters.
Hinged on the
earlier generation of painters like Andy Warhol, Hans Hartung and Mary Heilmann, van Genderen mechanized one expressionistic gesture for the purpose of reproducing it across the suite with largesse.
Before graffiti, and after graffiti Smash137 is a painter and is of the
emerging generation of painters in our era who embody the landscape of today's art.
Michael Lazarus» phenomenological concerns — proposed through the scale, signification, and materiality of his works — evoke the legacy of haptic, tactile agency of a Postminimal
generation of painters such as Eva Hesse, Daniel Buren, and Blinky Palermo, who, in different ways, infused painting with the effect of activating space — a condition initiated by Minimalist sculpture.
Hoptman notes that their experimental strategies and systematic distillation of painting practice eventually resulted in «abstraction's death by a thousand irrelevancies,» leading
succeeding generations of painters to repudiate formalism and conclude that the age of content without subject matter was long gone.
Amid the leaden self - importance of the abstract
expressionist generation of painters, Baldessari played the ingenue, seeing what would happen, as he puts it, if he took art at its word: «If it really was all about communication, why not really try to communicate, with things that everyone could understand?
The show presented three
distinct generations of painters, the first being artists who rose to international prominence in the 1960s, such as Lucian Freud, Frank Stella, and Cy Twombly.
In the spirit of Frieze week, the exciting younger
generation of painters made a strong debut at our Evening Auction, with record prices for artists such as Joe Bradley, Toby Ziegler, Brent Wadden and Louis Eisner.
During the next few months, the Seattle Art Museum will be hosting an intriguing show of three leading American artists from three
different generations of painters.
Brown has since emerged with her own distinct voice, as part of a new
generation of painters living and working in New York to be hailed as one its most exciting and talked about proponents.
By harnessing the visual language of Abstract Expressionism and connecting it to the energy of all - encompassing nature, Mitchell circumvented the more solitary, emotional aspects of the genre and successfully paved the way for
future generations of painters interested in universal expression.
Opening: «Nice Weather» at Skarstedt David Salle curated this group show, which takes its name from Frederick Seidel poem about one day's weather leading into the next's, and which, appropriately, features
multiple generations of painters.
Although she has worked largely unheralded in the New York art world, she has influenced
numerous generations of painters, including Catherine Murphy, Sylvia Plimack - Mangold and Josephine Halvorson.
Writing about
ayounger generation of painters working through the legacy of the Intimists, writer and curator Chris Sharp ofLulu in Mexico City raises doubts, «about the feasibility of intimacy, perceiving it less as a fact of life than an ethical mode, won through the increasingly rare act of paying attention.»
The exhibition focuses on the early, most explorative period in the work of Nikolai Kormashov (1929 - 2012), one of the leading figures of the
1960s generation of painters in Estonia.
In his influential 1952 article «American Action Painters,» Harold Rosenberg codified the characteristics of a
burgeoning generation of painters, noting, most famously, that they approached the canvas as «an arena in which to act.»
Focusing on a
rising generation of painters, alongside key artists working in drawing, photography, sculpture and video art, «What's Up» incorporates several well established names such as Jonas Wood, Mark Flood and Sterling Ruby, alongside the «new kids on the block».
Albert Oehlen's Deathoknocko, 2001, which sees the painter's diverse techniques turn to digital printing and image - creation software, will feature alongside work by a new
generation of painters including Celia Hempton.
Sean Kelly announces From Pre-History to Post-Everything, a group exhibition that presents ancient objects alongside contemporary paintings, providing the opportunity for a visual dialogue between the forms found in ancient cultures and the forms being investigated by today's youngest
generation of painters working with abstraction.
Coinciding with Frieze Masters, the exhibition of these important series will provide a renewed perspective in which to consider the significance of the artists» earlier works and their influence on
subsequent generations of painters and photographers.
This sale brought together some of the most in - demand artists and provided us with the opportunity to display classic German painters such as Albert Oehlen, Martin Kippenberger and Gerhard Richter alongside the major contemporary figures such as Lynette Yiadom - Boakye, Jonas Wood, Amy Sillman and Charline von Heyl who are forming the
next generation of painters.
Coinciding with the exhibition Re-Generation, which maps the lasting effect of Josef Albers teaching on three
successive generations of painters, is a small but exuberant show of paintings and works on paper by another teacher of color theory, painter Siri Berg.
Although not always acknowledged, his influence is visible in the works of a
current generation of painters that includes, Joe Bradley, Dan Colen, Sergej Jensen and Oscar Murillo to name but a few.
It was art critic Frank O'Hara, writing for Artnews, who recognized «a big talent at play»; realizing a significant departure from the
earlier generation of painters, O'Hara described Rauschenberg as the enfant terrible of the New York School.
The inspiration for this exhibition came from wanting to display these paintings alongside others by Caravaggio's followers, and to demonstrate the extraordinary breadth and range of his influence on a
whole generation of painters.»
Their deep influence on the sensibilities of at least two
generations of painters in this city is reflected — some will think this perverse — in inverse proportion to their standing in the art market.
AT THE HEIGHT of the Abstract Expressionist movement, which has been referred to as the «Triumph of American Painting,» 1 a somewhat younger
generation of painters, while interested in and often respectful of their predecessors, formed the conviction that an art based on the depiction of the natural world could make a serious and ambitious statement in the latter part of the Twentieth Century.
These canvases disclose affinities — Miró does not in the least attempt to deny this — with the researches of a new
generation of painters.