Sentences with phrase «history of figurative art»

The powerful and monumental paintings in Vincent Desiderio's ninth show with Marlborough Gallery since 1993 reveal his continued fascination with the history of figurative art and a mucky pleasure in pushing copious amounts of oil around a surface.

Yiadom - Boakye has been much praised for her critical engagement with the history of figurative art.

Not exact matches

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.

Three generations of American and European artists illustrate the history of this fascinating, figurative art movement.

Tim Eitel (b. 1971, Leonburg, Germany) conveys a deep command of color, technique, and form in his figurative paintings inspired by his observations of contemporary life and art history.

RELATED LINKS Order Phaidon's Body of Art, a survey of figurative work across the span of art histArt, a survey of figurative work across the span of art histart history

We tend to think of the history of art as a series of exceptionally unique ideas, but in fact, the figurative painting tradition is deeply conventional, and artists have mined narrow spaces for invention.

It has been difficult for art history to assimilate the figurative work of an avowedly conceptual artist such as Adrian Piper, who has painted since the mid-1960s.

In these figurative works, Channer questions established hierarchies within the history of art, objects and clothing, and offers a unique perspective on manufacturing, the hand - made and consumer culture.

In a diverse, exciting exhibition each of these artists explores a range of themes within figurative art; from personal histories to the influences of fashion and media.

THE CURRENT GENERATION of figurative paintings owes a debt to Kerry James Marshall, whose 2016 multicity retrospective cemented the artist's often - stated goal, one that is as straightforward as it is enormous: to put blackness into art history.

Perhaps because of the incandescence of the YBAs in the 1990s, British art in the 1980s often gets short thrift in terms of column inches in histories of modern and contemporary art, but — as Ikon's new show on the decade should demonstrate — it was a period of free - wheeling experimentation, in which figurative painting made a comeback, the variety of abstract styles increased, installation art grew in ambition and cut - and - paste appropriation prevailed.

Primarily a figurative painter and printmaker, Anthony Panzera (born 1941) has taught for more than forty years at Hunter College in the Department of Art and Art History.

A key figure in the history of figurative expressionism whose international reputation has been steadily on the rise in recent years, Jay Milder is a living link to the epoch when New York was the capital of the art world and expressionism was at its peak.

It is an endearing mixture of high and low culture that leaves you puzzled for a bit, as you're not sure whether to like it or not, but when it comes to their execution, there is no doubt that the artist took figurative painting to a whole new level, and one that we certainly haven't seen in a while too — if we don't take art history books into consideration.

Did the advent of photography contribute to the disappearance of figurative painting from the history of arts?

The book is a beauty... There is, throughout Ms. Jones's essay and the book as a whole, voluminous documentation of work by major artists who still rarely figure in most histories of American postwar art, like Betye Saar, who made intricate figurative drawings on covered glass windows; Senga Nengundi, who was conjuring unusual forms from sand and pantyhose before Ernesto Neto was even a teenager; and John Outterbridge, whose multifarious assemblages took on a gamut of styles.

1987 The Whitney Museum of American Art at Philip Morris, New York, Contemporary Cut - Outs (catalogue) Monte Carlo, Monaco, Monte Carlo Sculpture ’87 Port of History Museum at Penn's Landing, Philadelphia, National Sculpture Society 54th Annual Exhibition Kent Fine Art, New York, Assemblage Odakyu Grand Gallery, Tokyo, U.S.A. — U.K. Pop Art, exhibition traveled to Daimuru Museum of Art, Osaka; Sogo Museum, Yokohama) Whitney Museum of American Art, Fairfield County, CT, Contemporary Cut - Outs: Figurative Sculpture in Two Dimensions laneni Lanzone Gallery, San Francisco, After Pollock: Three Decades of Diversity Herter Art Gallery.

Born in 1962, Andersson paints from her subconscious, creating complex compositions that bring together a variety of sources including Nordic figurative painting, folk art, film imagery and her personal history.

Other works explicitly draw upon art history, such as Cy Amundson's paintings that ironically reference the history of figurative painting, and David Ording's oil paintings that reinterpret canonical portraiture.

Belgian painter Luc Tuymans (born 1958), one of the key figures in the 1990s revival of figurative painting, is also one of contemporary art's great history painters, tackling historical traumas and their representations in a restrained — though resolutely painterly — style and pale, muted palette.

Currin's accomplished and alluring paintings of distorted and disfigured women and men, including portraits, genre scenes, and still - lifes, bring back the figurative in contemporary painting with an informed nod to art history.

In our globalised world, the discussion on the traditional and the modern, the conceptual and the physical, the abstract and the figurative, is no longer afierce battle on the grounds of art history.

He commonly engages in the history of art by taking motifs and iconography from twentieth century figurative and abstract art and reworking them in pointedly «low» media such as ink drawing, graffiti, cartoon and collage.

The decade following R.B. Kitaj's death (1932 - 2007) has reinforced his art as a significant contribution to the history of figurative painting.

«Embodying Cultural Values in Figurative Art» — Join Artur Golczewski, visiting assistant professor of art history in the WSU School of Art & Design, as he discusses how art is reflected in a variety of populations and communitiArt» — Join Artur Golczewski, visiting assistant professor of art history in the WSU School of Art & Design, as he discusses how art is reflected in a variety of populations and communitiart history in the WSU School of Art & Design, as he discusses how art is reflected in a variety of populations and communitiArt & Design, as he discusses how art is reflected in a variety of populations and communitiart is reflected in a variety of populations and communities.

Opening: Emma Amos at Ryan Lee Ryan Lee in this show surveys the art of Emma Amos, an artist and educator known for her vivid figurative works that explore issues of African American identity and narrative, often through the lens of both art history and popular culture.

But the past few years have seen the emergence of a batch of exciting young figurative painters who, though their concerns are varied, share a number of intriguing characteristics: they are attuned to humor (slapstick looms large), fixated on the body, rapacious in their mining of both art history and the broader culture (from TV to Internet memes), and most of all, determined to impart pleasure.

Loose and disjointed narratives involving the histories and materiality of painting are found in several videos: Ragnheiour Gestsdottir's video «As If We Existed,» portrays the fictitious melodrama of a figurative painter working in Venice; Tameka Norris's «Purple Painting» incorporates makeup and food in a provocative video that, with few words, touches on issues surrounding race, gender and the pressures of an art historical canon; in Alex Hubbard's video «Hit Wave II,» a magician gives instructions for tricks, but the sounds and activities surrounding him allude to action painting with Hubbard in the background wearing a paint suit and creating gestural marks with spray paint.

The mingling of abstract and faintly gridded grounds with mysterious physiognomies acts as a way to line up the experiences of rigid geometric and abstract modernism with the popular symbols and narratives of figurative art history.

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

First, that women should make feminine art, and second, that African American artists should make figurative and «activist» art, works that confront issues of race, inequality, injustice and the long history of violence against black people.

The Figurative Pollock examines the different phases in Pollock's early work: his training in his teacher Thomas Hart Benton's Regionalism as well as his study of the monuments of art history — El Greco, Michelangelo, Rembrandt, and the masters of Italian Baroque.

Living between different continents — Doig in London, New York and the Trinidad of his childhood; Armitage in London and Kenya, where he was born in 1984 — both artists make lush, seductive figurative paintings derived from fused sources of memories, photographs, film and art history, hinting at enchanted, disquieting narratives.

The coloured works of the 1980s, both figurative paintings and still lives enter into a dialogue with the history of art and master painters.

Nash writes, «There is no more fabled chapter in the history of California Art than the audacious stand made by Bay Area Figurative painters against Abstract Expressionism in the 1950s.»

After studying literature and art history at Yale University and later taking classes at the Art Institute of Chicago, Oldenburg moved to New York and eventually became part of a group of artists challenging Abstract Expressionism by returning to «realism,» working with found objects and figurative imagart history at Yale University and later taking classes at the Art Institute of Chicago, Oldenburg moved to New York and eventually became part of a group of artists challenging Abstract Expressionism by returning to «realism,» working with found objects and figurative imagArt Institute of Chicago, Oldenburg moved to New York and eventually became part of a group of artists challenging Abstract Expressionism by returning to «realism,» working with found objects and figurative images.

2017 The Figurative Artist's Handbook • 305 page book published by Monacelli Press, 2017 The Brooklyn Rail, «History Painting and the Problem with Art Education in America» 2017 The Artist Magazine «The Evolution of Figure Drawing».

Using found imagery and carefully constructed tableaux, his seductive yet challenging figurative paintings explore complex ideas about history, memory, political extremism and art history and are influenced by his experiences growing up in the last years of Ceausescu's dictatorship.

The history of Irish art in the twentieth century shows that landscape painting was closely entwined with Irish nationalism and the search for an «Irish» identity, although artists pursued these ideas in quite individual ways: Jack B Yeats (1871 - 1957) through his intense expressionist landscapes populated by unmistakably Irish figurative icons; Paul Henry (1876 - 1958) and James Humbert Craig (1878 - 1944) through their outstanding renderings of sky, sea, turf and light in their West of Ireland views.

Upritchard aims to create figurative sculpture that simultaneously looks back at the history of the art form and to its future.

Where as a figurative work of art might allow every viewer to engage with it on the same level by referencing some aspect of history or life with which we are all familiar, an abstract artwork requires that every viewer that sees it begins anew, using their thoughts and feelings to arrive at some conclusion about what it could possibly mean.

She was named Outstanding Undergraduate Student in Sculpture, 2015, and received the David H. and Doris C. Cromwell Award for excellence in figurative sculpture, 2014, from the Dept. of Art + Art History, UHM.

In these pieces, the artist tackled genres like the still life, the portrait, figurative representation, landscape, interiors, historical painting, political propaganda, religious iconography, and the appropriation of elements from popular culture and art history.

Probably yes... Each of these figurative painters is struggling hard to do exactly what many contemporary artists and critics have already done: they are unfolding a dialogue with the history of art in order to retrieve the human figure in art.

Drawing upon the artist's prodigious knowledge of art history and the African diaspora, his paintings combine figurative and abstract styles and multiple allusions, drawing from «high» and «low» sources.

MG I always liked the way your work connects to a long history of figurative sculpture, which to me is strongly interwoven to the basic ideas of art making: funerary sculptures, totemic figures, magical or cultural objects.

Rosie Wylie (born in 1934, UK) expresses herself through figurative and large - scale paintings, representing her daily encounters derived from a variety of sources, spanning from art history to cinema and comics books.

The publication charts Hepher's life and work from the 1950s to the present day, tracing a path that begins in an era of the last century that was highly suspicious of figurative painting, through to the recent re-evaluation and rise to prominence of post-war British Art within global art histoArt within global art histoart history.

Masterworks of American Art from the Munson - Williams - Proctor Institute, Munson - Williams - Proctor Institute, Utica, NY, USA Figurative Expressionism and New - Expressionism: Selections from the Permanent Collection, Museum of Contemporary Art, Chicago, IL, USA, travelled to Garden Hall, Museum of Modern Art, New York, NY, USA El Arte Narrativo, Museo Rufino Tamayo, Mexico City, Mexico Sculpture by Painters, PaceGallery, New York, NY, USA Constructing a History, The Museum of Contemporary Art, Los Angeles, CA, USA