Sentences with phrase «history of abstraction by»

Grounded in more ways than one, O'Connell's «Souls» enrich the art history of abstraction by drawing on both high and popular culture, questioning the true and fake, and merging the physical and psychological.

It was such a rich conversation, we realized that a book of this kind — with the voices of scholars and curators and artists in dialogue - could be a way to tell the history of abstraction by African Americans.

Not exact matches

In any case, at least the fallacy of simple location, and in part the fallacy of misplaced concreteness, two of Whitehead's most important critical ideas, arise from and are explicitly attributed to Whitehead's reading of and engagement with Bergson's philosophy.17 Indeed, these two critical ideas about failings in the history of philosophy are addressed by both Bergson and Whitehead with the same twofold strategy: (1) a common method designed to minimize the distortion that enters into our metaphysical descriptions while allowing us still to generalize (extensive abstraction); and (2) a common descriptive postulate or tool (the epochal occasion).

As Bultmann uses them, the former refers to an event so far as it is significant for human existence (e.g., the cross as the salvation - occurrence through which I understand myself as judged and forgiven by God), while the latter refers to an event considered in abstraction from such significance (e.g., the cross as an incident in the annals of ancient history).»

In this current exhibition, Favour creates lush and sensual abstractions of the leaves, flowers and reproductive systems of the figs and nasturtiums filtered through her imagination; yet, informed by a rich understanding of the history of botanical illustration.

If abstraction is favored by undiscerning speculator collectors as well as museums hoping to advance a fast - forward chronology of art history, there is still no small amount of figurative work on the scene.

While Johnson's works are grounded in a dialogue with modern and contemporary art history, specifically abstraction and appropriation, they also give voice to an Afro - futurist narrative in which the artist commingles references to experimental musician Sun Ra, jazz great Miles Davis, and rap group Public Enemy, to name just a few, with various symbols including that of Sigma Pi Phi (also known as the Boulé), the first African American Greek - letter organization, and writings by civil rights activist W. E. B. Du Bois, among others.

By reinterpreting American abstraction through the prism of their own varied cultural backgrounds and artistic heritage, the artists urgently reaffirm the diversity and openness in American culture, at a pivotal point in the nation's history.

There is a great article by Linda Besemer, «Abstraction: Politics and Possibilities,» which tells a history of activist artists who make abstract work.

This gorgeous survey «adds to the history of postwar abstraction by providing a first glimpse of what a small group of Cuban artists were up to in the 1950s and early»60s, the tumultuous years leading up to, and just after, the revolution that brought Fidel Castro to power.»

The inaugural exhibition at the Chelsea gallery will present the pairing of Oxidation Paintings by Andy Warhol and Fire Paintings by Yves Klein, two major bodies of work by canonical 20th Century artists and fundamental to the history of abstraction, never before exhibited together.

Gesture, Emotion, Shape: Sources of Abstraction by Philip Dytko, Class of 2017, Pauline Lewis, Class of 2016, and Amalia Siegel, Class of 2016, Art History 71: The American Century - Modern Art in the United States, Winter 2015, Mary Coffey, Class Project, Israel Sack Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, March 14 - July 12, 2015.

One may miss true pioneers of gay abstraction, like Robert Rauschenberg and Jasper Johns — or one may prefer an installation by the museum's windows, by Rachael Farmer, for a more personal history.

The exhibition is certain to expand your vocabulary of early abstraction and modernism, the underlaying historical, literary and cultural factors that allowed for this new visual language to cement its position in history and help better understand later innovations by Mark Rothko, Joseph Albers, Chuck Close, Spencer Finch, Richard Serra, Julian Schnabel and others.

This resistance to abstract art is on the whole ignored by the Whitechapel's upbeat take on the history of geometric abstraction.

His work draws upon the history of painting and processes, particularly minimalism and abstraction, but is also influenced by design, poetry, writing and music.

A unique and highly respected collection, it illustrates the history of art by artists of African descent from the 1940s to the present, with a special emphasis on black abstraction.

Together, they present an argument for Báez as one of our most gifted and relevant young artists working today, one whose exquisite works - on - paper are set apart by their devotion to poetry and politics, abstraction and narrative, history and fantasy in equal measure.

Magnetic Fields: Expanding American Abstraction, 1960s to Today places abstract works by multiple generations of black women artists in context with one another — and within the larger history of abstract art — for the first time, revealing the artists» role as under - recognized leaders in aAbstraction, 1960s to Today places abstract works by multiple generations of black women artists in context with one another — and within the larger history of abstract art — for the first time, revealing the artists» role as under - recognized leaders in abstractionabstraction.

Although many different styles are encompassed by the term, there are certain underlying principles that define modernist art: A rejection of history and conservative values (such as realistic depiction of subjects); innovation and experimentation with form (the shapes, colours and lines that make up the work) with a tendency to abstraction; and an emphasis on materials, techniques and processes.

Joined by the neuroscientific study lab, which will interact with visitors during the show, the exhibition investigates the use of color in art through artistic movements and research that stand apart from canonical histories on color and abstraction.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

«The history of abstraction - especially the storied past of abstraction painted in the 20th century by emotionally fragile white men - is a weight that I will never be able to escape,» he wrote in his statement in the juried art publication New American Paintings.

Fuelled by the Southern California surf culture of his youth, and the history and contemporary practices of abstraction, John Bauer produces abstract paintings that channel the infinite potential of both the Pacific Ocean and abstraction itself.

Rebecca Morris, Laura Owens, and Ruth Root address the legacies of abstraction through their distinctive but ever - evolving approaches to painting that are inflected by philosophy, history, memory, humor, irony, and more.

With the renewed curatorial and academic interest in the African American contribution to the history of abstraction, «Mildred Thompson: Resonance, Selected Works from the 1990s,» presented in the Walter O. Evans Center for African American Studies, is a remarkable opportunity to expand this dialogue by celebrating the work of an under - recognized historical figure.

Traveled to: Renwick Gallery, National Collection of Fine Arts, Smithsonian Institute, Washington, D.C.; Cooper - Hewitt Museum, New York, 1979 - 1980 «Art from Corporate Collections,» Union Carbide Corporation Gallery, New York, May 9 - 30 «Selections from the Collection of Mr. and Mrs. Eugene Schwartz,» Knoedler Gallery, October 31 - November 28 «Color Abstractions: Selections from the Museum of Fine Arts, Boston,» Federal Reserve Bank Display Area, November 2 - January 31, 1980 1980 «L'Amerique aux Independents,» 91e Exposition, Societe des Artistes, Grand Palais, Paris, March 13 - April 13 «The Washington Color School Revisited: The Sixties,» Fendrick Gallery, Washington, D.C., September 9 - October 4 «Washington Color Painters,» Milwaukee Art Center, September 1 - December 1981 «Paintings from the United States from the Museums of Washington, D.C.,» Institute of Fine Arts, Mexico City, November 18, 1980 - January 4 1982 «A Private Vision: Contemporary Art from the Graham Gund Collection,» Museum of Fine Arts, Boston, February 7 - April 4 «Papermaking U.S.A.: History, Process, Art,» American Craft Museum, New York, May 20 - September 26 «Out of the South: An Exhibition of Work by Artists Born in the South,» Heath Gallery, Atlanta, Georgia, October 1982 1983 «Early Works by Contemporary Masters: Caro, Francis, Frankenthaler, Gottlieb, Held, Louis, Noland, Olitski,» Andre Emmerich Gallery, New York, September 6 - October 8 «Tapestries: Contemporary Masters,» Malcolm Brown Gallery, Shaker Heights, Ohio, October 21 - November 30; New York, February 25 - March 7 «American Post-War Purism,» Marilyn Pearl Gallery, New York, May 31 «Recent Paintings by Kenneth Noland and Darby Bannard,» Douglas Drake Gallery, Kansas City, Missouri, June 1 - 30 «Arte Contemporaneo Norteamericans, Collection David Mirvish,» American Embassy in Madrid, January 1985 «Recent Acquisitions,» Museum of Modern Art, New York, February 16 - March 17 «Grand Compositions: Selections from the Collection of David Mirvish,» The Fort Worth Art Museum, Texas, May 1 «Contemporary Monotypes,» Edith C. Blum Art Institute, Bard College, Annandale - on - Hudson, May 8 - July 10 «Selections from the William J. Hokin Collection,» Museum of Contemporary Art, Chicago, April 20 - June 16 «American Abstract Painting,» Margo Leavin Gallery, Los Angeles, California, June 19 - August 24

The exhibition is accompanied by a small publication that features a timeline of Tang Chang's life and Thai history and an original essay by Orianna Cacchione that traces Chang's relationship with the Thai art scene and examines affinities and divergences between his work and international forms of gestural abstraction and concrete poetry.

In Bloom consists of fifteen oil paintings whose style and process seem to reflect an ardently informed education in the history of post-war abstraction, also known as the New York School and Action Painting, heroically embodied by mythic rivals Jackson Pollack and Willem De Kooning.

An introductory essay by Leah Dickerman, Curator in the Museum's Department of Painting and Sculpture, is followed by focused studies of key groups of works, events and critical issues in abstraction's early history by renowned scholars from a variety of fields.

For a new exhibition opening at Houston's Art League, on view through Jan. 20 and funded by grants from the City of Houston through Houston Arts Alliance, Donnett is tying his own work to a long history of vibrant protest movements created by African Americans while slyly referencing geometric abstraction.

Sadie Benning Douglas Coupland Sarah Crowner Svenja Deininger Tony DeLap Thomas Demand Olafur Eliasson Liam Gillick Mark Grotjahn Andreas Gursky Jim Hodges Roni Horn Wyatt Kahn Ellsworth Kelly Agnes Martin Kaz Oshiro R. H. Quaytman Julia Rommel Sérgio Sister Blair Thurman Rebecca Ward Rachel Whiteread Inspired by Ellsworth Kelly's superimposed canvases Blue Relief over Green, 2004, and Dark Red Relief with White, 2005, Space Between investigates the legacy and influence of abstraction on Western art, presenting a selection of artists that enter into a conversation on history, process, and form.

Organic shapes are blasted apart by bright, unnatural tones of hot pink and acid green, while forms that reveal Wirsum's education in the vocabulary of modern abstraction are disengaged from the history of oil painting through the smooth, manufactured qualities of the painted surface.

The show expands on the rich and significant history of Latin American conceptual abstraction and provides a contemporary view as it is practiced by a current generation — and contextualized -LSB-...]

Sánchez's and Suárez's works are reminders of the rich history of geometric abstraction in Latin America, a legacy spotlighted by the recent, high - profile retrospectives of artists like Lygia Pape, Hélio Oiticica, Lydia Okumura, and Lygia Clark.

And as a reward for such an impressive achievement, Carmen Herrera's name will go down in art history and her quiet but steady work will forever by a perfect example of a cross-cultural dialogue within the international history of modernist abstraction.

These examples pre-date the term hardedge abstraction by Los Angeles Times art critic Jules Langsner, in 1959 but show an obvious significance to the cannon of art history to come as well as cementing her use of found materials painted black in her works to come.

Out of Easy Reach considers how artists from two generations have been informed by those before them; addressing the crisis of visibility of women of color within the narrative of abstraction's history.

Bringing much - needed attention to Lewis's output and significance in the history of American art, the multiauthor exhibition catalog — edited by Fine, who wrote the key overview essay — is a milestone in Lewis scholarship and a vital resource for future study of the artist and abstraction in his period.

Much like her previous work, they are further expansions (and revolutions waged) upon the bounds and rules set by the history of painting, in which abstraction stretches toward representation, image and non-image indecipherably integrate, and where the distinction between image and object dissolve.»

Through her imaginative, deft work and eloquent words, Albers has left a legacy characterized by an energetic balance of history and innovation, of abstraction and content, of material and form.

Through a profound exploration of his personal relationship with figurative painting over the years, compounded by his personal conception of abstraction, with My Wall Tweedy achieves an deep understanding of his own history as a painter, laying the foundation for a future of infinite possibilities.

By updating and fleshing out concepts and questions posed in the book, the exhibition presents more than 100 works by international artists, offering itself as a reinterpretation of the history of abstraction in the past six decadeBy updating and fleshing out concepts and questions posed in the book, the exhibition presents more than 100 works by international artists, offering itself as a reinterpretation of the history of abstraction in the past six decadeby international artists, offering itself as a reinterpretation of the history of abstraction in the past six decades.

«Nancy Lorenz: New Work» (closes on Saturday) Operating in the gap between painting and the decorative arts, Ms. Lorenz's latest efforts add to the history of modernist abstraction by way of seemingly gestural marks and lines fashioned from mother - of - pearl inlaid in surfaces of silver, white gold or palladium.

By highlighting the artists» individual approaches to form, color, composition, material exploration and conceptual impetus within hard - edge and gestural abstraction, Magnetic Fields provides an expanded history of non-pictorial image - and object - making.

The resultant painting may reference gestural marks or codes from the history of Abstraction, but this is coloured by its digital pre-planning.

Her photography is also influenced and inspired by the work of a long history of photographers, painters and sculptors working in abstraction.

1993 Merce Cunningham Dance Company Benefit Art Sale, 65 Thompson Street, New York, USA I am the Enunciator, Thread Waxing Space, New York, USA Darkness and Light, Blaffer Gallery, University of Houston, USA (curated by Marti Mayo) Zeichnungen setzen Zeichen, Galerie Raymond Bollag 1, Zurich, Switzerland 44 Kunstler der Documenta IX: Arbeiten auf Papier Rewriting History: The Salon f 1993, Montgomery Glasoe Fine Art, Minneapolis, USA Painting, Texas Gallery, Houston, USA Drawing the Line Against AIDS, Peggy Guggenheim Collection, Venice, Italy (Under the aegis of the 45th Venice Biennale — Reinstalled at the Guggenheim Museum Soho, New York) XLV Biennale di Venezia, Italy, Tresors de Voyage (al Monastero dei Padri Mechitaristi dell» isola di San Lorenzo degli Armeni) Abstract — Figurative, Robert Miller Gallery, New York, USA Eight Painters: Abstraction in the Nineties, Carl Solway Gallery, Cincinnati, USA Living with Art: The Collection of Ellyn & Saul Dennison, Morris Museum, Morristown, USA

1992 Picturing Paradise: The Rain Forest at Risk, Fernbank Museum of Natural History, Atlanta, USA Summer Group Show, Texas Gallery, Houston, USA Documenta IX, Kassel, Germany Quotations, Aldrich Museum of Contemporary Art, Ridgefield, USA; Museum of Contemporary Art, Dayton Art Institute, USA Painting, Self Evident: Evolutions in Abstraction, The William Halsey Gallery, Simons Center for the Arts, College of Charleston, Charleston, South Carolina, USA (Exhibition on view here and simultaneously at two other venues, The Meddin Building and the Gibbes Museum of Art, during the Spoleto Festival) Summer Group Exhibition, Ginny Williams Gallery, Denver, USA Slow Art, P.S. 1 Museum, Long Island City, New York, USA Selective Vision, TransAmerica Corporation, San Francisco, USA Psycho, Kunsthalle, New York, USA (Inaugural exhibition curated by Christian Leigh) Allegories of Modernism: Contemporary Drawings, Museum of Modern Art, New York (2/16 — 5/5/92) Twentieth Century Prints of the East End, Renee Fotouhi, East Hampton, NY

This exhibition explores the highly formulated and transitional status of geometrical abstraction in the work of women artists from three generations: beginning with (Neo) concrete works on paper from the 1950s by Lygia Pape, to Minimal and Color Field paintings from the 1960s by Rosemarie Castoro and Gina Pane, the 1960 - 80s Pop Art influenced pattern paintings by Barbro Östlihn, to post-Concretist installations, structural and systemic experiments and text pieces from the 1970s and 80s by Lydia Okumura, Lenora de Barros, Martha Araújo, Dóra Maurer and Samia Halaby, to the original contemporary formulations of this history by Paloma Bosquê.