Sentences with phrase «generation of painters working»

Oehlen's works are influential to a generation of painters working today, and this exhibition will be accompanied by a public programme that will draw out some of the strands running through Oehlen's work and their significance for painters from a younger generation.

Oehlen's works are influential to a generation of painters working today, and this exhibition is accompanied by a public programme that will draw out some of the strands running through Oehlen's work and their significance for painters from a younger generation.

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 Verus Painters are the new generation of painters working with a wealth of painterly history and ideas accumulated over the last century.

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.

Oehlen is an artist who consistently questions and plays with the conventions of painting and his works are influential to a generation of painters working today.

Not exact matches

2015.02.11 Emerging visual artists wanted to participate in RBC Canadian Painting Competition Next generation of Canadian painters are invited to submit work for 17th annual competition...

2017.02.23 RBC Canadian Painting Competition Welcomes 2017 Submissions Next generation of Canadian painters invited to submit work for 19th annual competition...

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.

«Generations of black abstract painters never seem to be celebrated,» says Valerie Cassel Oliver, senior curator at the Contemporary Arts Museum Houston, where she recently organized «Black in the Abstract,» a two - part exhibition that focused on the history of African American painters working in abstraction.

Manister's artistic worldview and method is underpinned by the humanist vision of the older generation, but his commitment to forging an individual practice is not hampered by the same kind of high - seriousness and obdurate self - belief often found with other painters working «after the fall.»

On the other hand, though the group of painters represented here form a tight - knit «generation» (one constraint of the show is that all the artists were born between 1939 and 1949), and though the selected works originate from the same period and place, the works are aesthetically independent enough to resist any easy categorization according to style or aims... Rubinstein's curation in Reinventing Abstraction proposes something — an idea, a possible history — that may connect with others but which is, nevertheless, its own.

Among a new generation of abstract painters who emerged combining color field painting with expressionism, the older generation also began infusing new elements of complex space and surface into their works.

Typically what is referred to as the Second Generation included painters and sculptors of the late fifties, during the heyday of Abstract Expressionism, whose work seemed to be directly influenced and inspired by Willem de Kooning, Franz Kline, Hans Hofmann, Robert Motherwell, or Clyfford Still, or influenced indirectly by Adolph Gottlieb, Mark Rothko, and Barnett Newman.

She is no more representative of her generation than De Keyser is of his, but like him she has been a favorite of fellow painters, most notably, in her case, Mary Heilmann, whose gloss of Greenbaum's early work is worth quoting here, for the sake of its descriptive energy (which matches the nondescriptive energy of the paintings) and the way it highlights how Greenbaum's work has changed: «Joanne seemed to be remembering the atmosphere of a festive female experience of the 60s.

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 will continue with work by current mid-career painters as well as recent graduates who will play a central role in the next generation of American painting.

Taking issue with Harold Rosenberg (another important champion of Abstract Expressionism), who wrote of the virtues of action painting in his article «American Action Painters» published in the December 1952 issue of ARTnews, [3] Greenberg observed another tendency toward all - over color or Color Field in the works of several of the so - called «first generation» Abstract Expressionists.

From the «precursors» who developed Congo's first works on paper when it was still a Belgian colony to the 1970s «popular painters» who worked as sign painters and created comics, and a new generation of artists that emerged in the 2000s, this unique show offers an historic overview of Congo's artistic landscape.

His work paved the way for a new generation of figurative painters, and his absence in the art world will surely be felt.»

Janet's work is a touchstone of modern still life paintings, influential for new generations of painters.

One of the most iconic figures that emerged from the post-World War II American art, Frank Stella is a painter and a printmaker whose influential work is considered to be crucial to the generations of artists that moved beyond Abstract Expressionism.

Writing about his work in a 2008 review in The Evening Standard, critic Ben Lewis said, «Nigel Cooke has firmly established himself as the leading British painter of his (post-Doig) generation.»

Too late for the scholarly and critical treatment that has been extended to even minor painters of first - generation Abstract Expression - ism, Louis has had to wait until now for us to realise how baffled we are by him and how urgent it has become to know the work better.

The organizer, the American painter and art dealer William Copley, conceived of it as an intermedia and intergenerational publication, presenting works by an impressive array of artists, both well - known and emerging, including the Dada and Surrealist luminaries Marcel Duchamp, Man Ray, and Meret Oppenheim; Pop artists Richard Hamilton and Roy Lichtenstein; composers Terry Riley and La Monte Young; and an up - and - coming generation of conceptual and post-studio artists represented by Joseph Kosuth and Bruce Nauman, among others.

I thought it would be interesting to put them in a context with several other generations of contemporary figurative painters, who are continuing to do vital work and are changing with the times.

Antonio Saura was a Spanish artist and writer, one of the major post-war painters in the fifties whose work has marked several generations of artists.

With what has been describes as a furious and fearless working process, painter Karen Schwartz illustrates from an unlikely inspiration combo of both generations of German Expressionists and Post-Modern Neo-Expressionists, with a sense of color and light that recalls the likes of Matisse.

These are impressively adept paintings with a confident sense of scale, but they do not have a distinctive character compared to contemporary works by artists such as Helen Frankenthaler, Grace Hartigan, or Joan Mitchell, to reference only the most noted women abstract painters of Schapiro's generation.

And they had a different point of view than the other galleries that existed at the time, and they were particularly interested in the Pictures Generation [a loose affiliation of conceptual photographers and painters who emerged in the mid-70s and appropriated media and advertising in their work], which by that time had become almost underground.

A Selection of American Art: Minimalism and After, Galerie Ronny Van de Velde, Antwerp, Belgium (catalogue) The Kitchen Art Benefit, Curt Marcus & Leo Castelli Galleries, New York Re-Framing Cartoons, Loughelton Gallery, New York Grids, Vrej Baghoonian Gallery, New York Modern Detour / Umweg Moderne: R.M. Fischer, Peter Halley, Laurie Simmons, Wiener Secession, Vienna (catalogue) The Last Decade: American Artists of the 80s, Tony Shafrazi Gallery, New York (curated by Collins & Milazzo, catalogue) Weitersehen 1980 — 1990, Krefelder Kunstmuseen, Museum Haus Lange and Museum Haus Esters, Krefeld, Germany (catalogue) Mel Bochner, Peter Halley, Robert Rauschenberg, Sonnabend Gallery, New York Classical Modernism: Six Generations, Sidney Janis Gallery, New York Peter Halley, Annette Lemieux, Meyer Vaisman, Galerie Antoine Candau, Paris Peter Halley, Jeff Koons, Meyer Vaisman, Galerie Carola Moesh, Berlin 1989 Nonrepresentation: The Show of the Essay, Anne Plumb Gallery, New York (catalogue); travelled to Security Pacific Corporation, Los Angeles (curated by Jeremy Gilbert - Rolfe, catalogue) Horn of Plenty, Stedelijk Museum, Amsterdam (catalogue) Buena Vista, John Gibson Gallery, New York (curated by Collins & Milazzo, catalogue) Abstraction in Question, John and Mable Ringling Museum of Art, Sarasota, FL (catalogue); travelled to Center for the Fine Arts, Miami Paula Cooper Gallery, New York A Climate of Site, Galerie Barbara Farber, Amsterdam (curated by Robert Nickas, catalogue) Science — Technology — Abstraction: Art at the End of the Decade, University Art Galleries, Wright State University, Dayton, OH (catalogue) Prospect 89, Frankfurter Kunstverein, Schirn Kunsthalle, Frankfurt am Main (catalogue) Re-Presenting the 80s, Simon Watson Gallery, New York (catalogue) Ten + Ten: Contemporary Soviet and American Painters, Fort Worth Museum of Art, Fort Worth, TX; travelled to San Francisco Museum of Modern Art, San Francisco, CA; Albright - Knox Art Gallery, Buffalo, NY; Milwaukee Art Museum, Milwaukee, WI; Corcoran Gallery of Art, Washington, DC; Artists» Union Hall of the Tretyakov, Krymskaia Embankment, Moscow, USSR; State Picture Gallery of Georgia, Tbilisi, Georgian Soviet Socialist Republic; Central Exhibition Hall, Leningrad, USSR (catalogue) The Silent Baroque, Villa Arenberg, Galerie Thaddaeus Ropac, Salzburg, Austria (catalogue) New Editions, Pace Prints, New York Psychological Abstraction, Deste Foundation for Contemporary Art, Athens (catalogue) Exposition Inaugurale, Fondation Daniel Templon, Musée Temporaire, Fréjus, France (catalogue) Wittgenstein: The Play of the Unsayable, Wiener Secession, Vienna, Austria; travelled to Palais des Beaux - Arts, Brussels (catalogue) Abstraction — Geometry — Painting, Albright - Knox Art Gallery, Buffalo, NY; travelled to Center for the Fine Arts, Miami, FL; Milwaukee Art Museum, Milwaukee, WI; Yale University Art Gallery, New Haven, CT (catalogue) New Work by Gallery Artists: John Baldessari, Bernd and Hilla Becher, Ashley Bickerton, Mel Bochner, Carroll Dunham, Fischli + Weiss, Gilbert & George, Peter Halley, Barry Le Va, Haim Steinbach, Meyer Vaisman, Terry Winters, Robert Yarber, Sonnabend Gallery, New York Gober, Halley, Kessler, Wool: Four Artists from New York, Kunstverein, Munich (catalogue) Projects and Portfolios: The 25th National Print Exhibition, Brooklyn Museum, Brooklyn, NY (catalogue) Recent Acquisitions, Carl Solway Gallery, Cincinnati, OH Buena Vista, John Gibson Gallery, New York

In contrast to many painters of his generation, this allusion to pop culture is secondary at most, which adds to the work's manifold possibilities.

The series began on a high note with artist Chuck Close, one of the preeminent painters of his generation, who discussed his work and career with Gallery curator Jeffrey Weiss.

In Art in America this month Raphael Rubinstein, after reading issues of AiA from thirty years ago, considers the fate of Neo-Expressionism, a movement popular in the 1980s championed by painters such as Sandro Chia, Enzo Cucchi, Francesco Clemente, Markus Lüpertz, and Julian Schnabel that was ultimately overshadowed by the more cerebral work created by artists like Jenny Holzer, Sherry Levine, and Richard Prince — what we now call «The Pictures Generation.»

She also played an important role for younger generations of painters, many of them being invited to stay and work with her in Vétheuil.

The Royal Academy show (opening next week) should establish him beyond doubt as one of the most gifted British artists of his generation and one of the best non-figurative painters still working anywhere.

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.

When a traveling retrospective of his work appeared at the Whitney Museum of America Art, the influential critic and curator Thomas Hess wrote in Art News that «Bloom at 40 is one of the outstanding painters of his generation.»

Claimed as a Fauvist, a Surrealist, Expressionist, and a Magical Realist, the Spanish painter and sculptor Joan Miró has had an enormous influence on the work of several generations of succeeding artists.

Only a generation earlier, the painter Beauford Delaney gained access to the new Whitney Museum of American Art by working as a guard and performing odd jobs.

In the NYSun, Maureen Mullarkey reports: «A surprisingly satisfying exhibition that showcases the work of 11 postwar pilgrims to sites abandoned by the Lost Generation well before the fall of... read more... «Postwar occupation: American painters in Paris»

The Painting Center is pleased to present Re-Generation, a traveling exhibition featuring the work of three generations of painter - teachers.

Equally important, however, is his respect for the integrity of the picture plane in these works, a respect that stems from his admiration for and emulation of the generation of Abstract Expressionist painters that came before him, including Willem de Kooning and Clyfford Still.

Works by the earlier generation of artists represented in the show can be loosely situated within geometric abstraction and abstract constructivism, influenced by artists such as Piet Mondrian (1872 — 1944) and groups such as De Stijl (founded 1917) and the ZERO movement of the 1950s and 60s, as well as the American Colour Field painters.

At several places in the building, the Hamburger Bahnhof currently exhibits an artist whose work and life can not be separated from one another — a painter, an actor, a writer, a musician, a drunkard, a dancer, a traveller, a charmer, an enfant terrible and self - producer — in short, an «exhibitionist» as he called himself and an artist who today is considered one of the most significant of his generation.

Although this particular painting is named after a girl that Stella knew, its composition demonstrates his desire to move away from any representational illusion as well as the emotional content found in works by the preceding generation of Abstract Expressionist painters.

We might say that the ambiance of the work is muted; this counterpoints the broad self - absorption of the three best - known painters of his generation: Eric Fischl, David Salle, and Julian Schnabel.

Polke's influence on the generation of painters that first rose to prominence in the 1980s was profound, with his stylistic experimentations and use of found imagery echoed in the work of artists as disparate as Albert Oehlen, Rosemarie Trockel, the late Martin Kippenberger and the Americans Julian Schnabel, David Salle and Richard Prince.

In the 1990s they were joined by the younger Jonathan Forrest, whose work ranks with the best painters of his generation.

Due to her talent and long artistic reign, Frankenthaler influenced generations of modern painters with her vital and ever - changing work [1].