Sentences with phrase «highly abstract works»

Museum officials say it is the first time that Stella's geometrical and highly abstract works have been shown alongside the sources that inspired him — architectural drawings and documentary photos of synagogues taken before the war — as well as models and drawings of his own that he used to create his large - scale constructions.

It introduced amazed New Yorkers - accustomed to realist art - to avant - garde art from Europe, including highly abstract works of Cubism and Futurism.

They expressed their personal observations of the landscape in what are by and large highly abstract works.

The figurative elements in the painting after his outpouring of highly abstract work caused a stir at the time.

Not exact matches

In order to work, objectives need to be concrete (not as abstract as your long - term aims) and highly detailed.

Theologians move in two worlds, working not only with the abstract categories of philosophy but also with the highly concrete and often complex literary forms of the Bible.

As Whitehead suggested, if this view of location is taken as a complete and concrete account, it works badly: for, taken in this way, it equates a highly abstract selective construct with a full concrete reality.

In a very perceptive, but as yet unpublished, paper devoted to evaluation and to evaluating those who evaluate, Paul Weiss has called attention to the highly practical character of the theoretical work of logical analysis, thereby helping to verify Whitehead's famous dictum that the paradox is now fully resolved which states that our most abstract concepts are our best and most useful instruments with which to come to understand concrete matters of fact and practical affairs.

Featuring works — over a third of which are newly created — by an international and intergenerational group of artists, the exhibition explores blackness as a highly evocative and animating force in various approaches to abstract art.

If you think «Eight Movements,» the title of Liat Yossifor's latest exhibition of paintings, sounds more like the title of a Philip Glass recording or the latest release by Steve Reich, you're already onto the idea behind the Israeli artist's stark and highly textural abstract works.

Avery's daring color juxtapositions and abstracted depictions of classic subject matter exerted a highly important influence on Post-War American painting and anticipated the works of Mark Rothko and Adolph Gottleib, among others.

Paintings by postwar abstract artist Mark Rothko are highly coveted — in May one of his works sold at auction in London for $ 50 million.

Two portable walls roughly subdivide the gallery in half, with one side devoted largely to hyper - detailed and / or highly graphic works, and the other mainly to more loosely expressionistic and / or abstract pieces.

Her work is known for breaking boundaries and for ranging between highly controlled abstract works and painterly realism.

GUTS (yellow / gold)(all works 2007), for example, her contribution to «Late Liberties» at John Connelly Presents, is a vivid and uncompromising canvas that confronted viewers with a seemingly metaphorical treatment of the titular word, ensuring that they would be hard - pressed to disagree with curator Augusto Arbizo's claim that «for a young artist to be making work at this moment in what could be called an abstract or nonrepre - sentational manner... is... a highly personal and political act.»

Alexey Luka is a highly talented Russian artist and illustrator who fuses abstract characters with organic shapes and geometric compositions in his work.

This is a rather divisive strategy, given Houghton's personal requests, yet ultimately one that ensures each visitor is equally informed of this abstract, highly unique body of work.

During his time in the Winter Workspace in 2012, Lamia departed from his abstract work by creating highly detailed representational drawings in graphite that depicted trees and plants found throughout the garden.

Among other coups, it was he who assembled in one place and popularized the extraordinary, highly praised abstract works of the quilters of Gee's Bend, Ala., touring them in the early 2000s to major American museums.

Since then she has remained at the forefront of developments in contemporary painting, making highly distinctive works which seek to articulate an abstract language in which relations of color and form generate visual sensations.

These highly finished pieces often featured car and motorcycle motifs, such as the chevron symbol placed at the center of his works, and many include Bengston's signature sergeant's stripes, or abstracted images of hearts.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

After working to learn and hone her artistic skills, she now paints mostly in the abstract expressionist style and enjoys working with highly textured art.

Talk: «Al Held Panel Discussion» at Cheim & Read Following last week's opening of the highly praised exhibition «Al Held: Black and White Paintings,» which showcases eight of the abstract painter's monumental canvases of interlocking forms from 1967 to 1969, the gallery is presenting an in - depth discussion of the artist and his work.

A hugely ironic riff on both the technological sublime and the home - décor - ready status of abstract expressionistic painting, as well as its precedent in Turner's highly abstracted late works, this giant joke also happens to look pretty great.

Very bright and almost overwhelming, this is an awesome and almost abstract work that is highly decorative and shows the artist at the top of his form.

The resulting paintings are both abstract works and yet highly concrete, transparent documents of his artistic process.

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.

Thomas Scheibitz is a sculptor and painter whose work, though highly abstract, often reveals familiar elements upon closer examination: buildings or landscapes simplified into bold and gestural shapes and colors.

«Her works epitomize a shift in abstract expressionism from chance, hazard, and the uncontrolled freedom of the unconscious to a new direction with breath, freshness, and light within a highly structured armature...» (P. Schimmel quoted in J. Yau, «Joan Mitchell's Sixth Sense,» Mitchell Trees, exh.

Restrained and non-theatrical, the works in the show nonetheless evoke monumental and highly abstract ideas of order, space and time.

Manolis began working in watercolor in the early 1990s, a medium he found especially suited for his large - scale highly vitreous multilayer abstract images.

His large - scale wall works are highly unique and combine artistic aesthetic reminiscent of the abstract expressionists with the handmade technique of fine craftspeople.

Being open ended, the phrases did not convey a clear message but rather gave food for thought to the viewer which gave them a highly contemplative and poetic quality, which merges this body of work into the more abstract future series of paintings that the current lot belongs to.

Their genesis traceable to Bell's obsession with the finishes he developed and eventually released from his minimal glass works, the two - dimensional CS paintings are composed from abstract forms that appear as a shimmering vortex of light, creating the illusion of three - dimensional, highly sculptural space.

The works on display in West draw from a juxtaposition of abstract painting and landscape photography, a pairing that proves to be simultaneously idiosyncratic and highly intuitive.

Beginning in 1972 Johns's work became highly abstract, a transition marked by a series of crosshatch paintings.

DeFeo's collage work presents equally unusual forms that are both highly abstract and suggestively figurative.

These works pay particular attention to specific architectural details and structures and as a result are more highly abstracted than his previous work.

As Sims notes, Binion's work is about neither «purely objective abstract patterns» nor simple «subjective handwork and highly personal information.»

And that work is something both classically composed and so unlike much of the highly abstract or overly academic photography we see far too often these days.

Just as Mr. Kelly used the shapes of Parisian architecture in his earlier paintings, on view in Washington, the grand arches of the Brooklyn Bridge soon appeared, highly abstracted, in his New York work.

They are less titillating than Ms. Semmel's earlier work, but together they create a coherent conceptual project that is also — as one would expect from a painter who started off as an abstract expressionist — still highly engaged with the tactility of paint and the possibilities of color.

By this time, Martin's representational works, including surrealistic oils as well as landscape and figurative watercolours, had been superceded by her new and highly simplified abstract pictures marked by square canvas formats hosting all - over grids of pencil lines and monochromatic colour schemes.

But, rather than focusing on works that fitted with the urban art cliché, Johann Haehling von Lanzenauer was always pushing the artistic boundaries of the gallery, seeking works that one would not automatically associate with urban art: rather than merely showing graffiti, instead, abstract works, highly conceptual murals and installations were also on display.

Around 1950, however, she familiarized herself with the work of Clyfford Still and became influenced to create highly abstract, large - scale, gestural paintings.

The early Pictographs were created with a defined grid structure in order to organize theimages, often figurative and fragmented, in a utilitarian manner.Around 1948, Gottlieb began deconstructing the grid in an effort to find an alternative way to balance nature's interrelated forces: order and chaos.The earliest work on view, Inscription to a Friend, 1948, is an example of Gottlieb's initial attempts to integrate abstract forms that could still be relatable to a larger universal language, without the help ofthe grid.Inscription, 1954, demonstrates Gottlieb's further progression into purely abstract imagery using an evocative and highly developed lexicon.

Most scholarship has viewed Smith's early work as developing in a linear fashion, from the European influences of Picasso and cubism in the 1930s; to a figuratively based, highly detailed, American surrealism in the 1940s; to a lyrically abstract, expressionist expansiveness in the 1950s; culminating with the seemingly disconnected breakthrough embodied in the reduced, geometric monumentality of his final works.

One of Rogers» best - known bodies of work is the Dark Horse series, comprised of often large - scale, highly graphic, black - and - white paintings of horses and riders, or abstracted images of racing hooves.

Though her sculptural forms were often highly - abstracted, Catlett imbued her works with a profound sense of narrative shaped by both her intensely personal experience and identification as an African American woman (along with her acquired mejicanismos) and her broader, abiding concern with principles of justice, freedom, dignity and resilience.