Sentences with phrase «influence on abstraction»

Siskind's continued influence on abstraction is still felt today, whether directly or obliquely.

As a result, the «St Ives School» became famous in the 50s and 60s for its concrete art, which had a significant influence on abstraction in Britain.

He comments on her approach to painting, about her influence on abstraction and regrets her passing (she died in 1992, when she was only 34 years old).

Not exact matches

Every time de Kooning gets stuck, he shifts back between representation and abstraction, part of his great influence on John Chamberlain.

Refining a technique, developed by Jackson Pollock, of pouring pigment directly onto canvas laid on the floor, Ms. Frankenthaler, heavily influencing the colorists Morris Louis and Kenneth Noland, developed a method of painting best known as Color Field — although Clement Greenberg, the critic most identified with it, called it Post-Painterly Abstraction.

During the early 1950s, Richard Diebenkorn was known as an abstract expressionist, and his gestural abstractions were close to the New York School in sensibility but firmly based in the San Francisco abstract expressionist sensibility; a place where Clyfford Still has a considerable influence on younger artists by virtue of his teaching at the San Francisco Art Institute.

Developed by the Tate Modern in London and debuting in the US at Crystal Bridges, Soul of a Nation: Art in the Age of Black Power examines the influences, including the civil rights movement, Minimalism, and abstraction, on artists such as Romare Bearden, Noah Purifoy, Martin Puryear, Faith Ringgold, Betye Saar, Alma Thomas, Charles White, and William T. Williams.

The artist was known for her richly coloured compositions treading the line between figuration and abstraction, and has often been acknowledged for her influence on the work of her husband, the sculptor Anthony Caro, in what the couple themselves had -LSB-...]

NEW YORK — Judith Clark talks to Diane Simpson about the influence of abstraction, architecture and fashion on her sculptures.

Matisse's work had an enormous influence on him, and on his understanding of the expressive language of color and the potentiality of abstraction.

-LSB-...] The Abstract Expressionists whose works are on display in this exhibition remain true to abstraction throughout their careers and were little influenced by innovations in the art scene around them.

Let the late - career surveys of Etel Adnan's faux - naive abstractions at London's Serpentine Gallery and New York's Galerie Lelong represent Amaral's influence on the international artists who studied in mid-20th-century Paris.

The New Museum calls her an influence on British sculpture since the 1960s, when she turned on formal abstraction.

Less an exhaustive survey of contemporary abstract painting than a bringing together of extraordinary works by exceptional artists, Inherent Structure encourages viewers to meditate on the underlying sources and influences of abstraction by providing varied and multiple manifestations of it.

Focusing on the notion of abstraction in twentieth - century and contemporary Belgian art and the varying sources of influence and inspiration among the artists of two generations, Tuymans has selected fifteen artists whose work either articulates a relationship to abstraction or takes as its cue the definition of abstraction.

Panel II: Digital Abstraction This panel will hone in on abstract painting influenced by digital imaging techniques, digital technologies, and new / post media theory.

«Later, because he was interpreted as someone who paved the way for abstraction of the external world, [his still lifes and landscapes] were more easily related to his influence on Cubism and early Modernism.

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.

Join us for a discussion on Thompson's work and influences, as well as the changing landscape of abstraction as a field that is becoming more inclusive to women and artists of color.

Kamrooz Aram «Focus Series» The Modern Art Museum of Fort Worth, Fort Worth March 31 — June 17 The work of the Iranian - born, Brooklyn - based artist Kamrooz Aram challenges the narrative of art history, making the case for non-Western influences on modernism and abstraction.

This fantasy of a direct projection of thought not only had a decisive impact on the birth of abstraction but also influenced surrealism and its obsession with the collective sharing of creation and, in the post war period, it gave rise to numerous visual and sound installations inspired by the revolution in information technology, leading to the declaration of «the dematerialisation of art» in conceptual practices...

While not purely cubist works, the influence of cubism on Isberg's abstraction is more Juan Gris than Picasso.

With his roots in printmaking and Surrealism, British artist Stanley William Hayter's (1901 — 1988) theoretical writings on automatism and the expressive abstraction of his own work were a formative influence on Pollock and other abstract expressionists via his printmaking studio, Atelier 17, where Hayter taught Pollock and other well known artists including Pablo Picasso, Joan Miro, Max Ernst, Alexander Calder, Marc Chagall, Jacques Lipchitz and Alberto Giacometti.

Influenced by the emergence of abstract expressionism, the New York School, Color Field Painting and the Washington Color School, Gilliam's early style developed from brooding figural abstractions to large paintings of flatly applied color and paintings of diagonal stripes on square fields.

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.

Kitaj had a significant influence on British pop art, with his figurative paintings featuring areas of bright colour, economic use of line and overlapping planes which made them resemble collages, but eschewing most abstraction and modernism.

Group exhibitions focus on German Expressionists (Galerie St. Etienne), Masterworks of Egg Tempera (ACA Galleries), Latin Americas Abroad in the Sixties (Adler & Conkright Fine Art), Hard - Edge Abstraction at Mid Century (Valerie Carberry Gallery), James Abbott McNeill Whistler and Artists Influenced by Him (Thomas Colville Fine Art) and more.

Later too, his freely painted and lyrical landscape abstractions of the 1960s and 1970s were to have an enormous influence on painters in the 1980s.

On the one hand, the constant play between abstraction and emotions; on the other hand, the relation between the intensity of your immersive environments and a certain tonality... How do these relations shape the meditative field and to what do you owe your influencOn the one hand, the constant play between abstraction and emotions; on the other hand, the relation between the intensity of your immersive environments and a certain tonality... How do these relations shape the meditative field and to what do you owe your influencon the other hand, the relation between the intensity of your immersive environments and a certain tonality... How do these relations shape the meditative field and to what do you owe your influence?

As expected, his artistic influences are based on avant - garde Russian and constructivist painters, Malevitch's Suprematism and color expression by the New York school of expressive abstraction.

An exhibition at the former, «Matisse and American Art,» (through June 18) explores Matisse's influence on American modern art from 1907 to the present, while one at the latter «Making Space: Women Artists and Postwar Abstraction,» (through August 13) displays female abstract artists» accomplishments between 1945 and 1968.

The artist has focused on the notion of abstraction in the twentieth - century and contemporary Belgian art — including varying sources of influence and inspiration among the curated artists — Tuymans has selected fifteen artists whose work either articulates a relationship to abstraction or takes as its cue the very definition of abstraction itself.

And if one recedes a little further, to 2011, one will fully understand the major influence of Bill on many of the artists that formed the memorable Cold America — Geometrical Abstraction in Latin America (1934 - 1973).

In the late 1980s, influenced by his growing interest and travels in Thailand, his style took a dramatic turn towards gestural abstraction incorporating calligraphic intricate lines on monochromatic panels — a nod to Asian characters and odes to nature.

Pentagon By 1999, chaos theory became a profound influence on Kidner's work and geometric abstraction in the form of Penrose pentagons reprinted on paper became a critical tool as a metaphor for ordering the chaos in the world.

If the show intended to nod at the kinds of abstraction influenced by American painting of the 1960s (Morris Louis, Helen Frankenthaler and others painted on canvas with acrylics in a way that seemed to up the ante of the watercolour tradition), why not chose a late 60s John Hoyland, a 70s Bert Irvin or a recent John McLean rather than this dreary thing?

Olsen, Creely, and Duncan each had an important influence on Chamberlain; what they did with everyday words, he sought to do with ordinary scraps of metal — arrange the familiar and unspectacular into challenging new configurations that embraced abstraction and defied narrative coherence.

«The exhibition recognizes the large influence that New Mexico as a place had on the artist's exploration of and success in the idiom of abstraction,» states Lovell.

In this podcast Edwards, Gilliam, and Williams discuss the role of abstraction in their work as well as the most important influences on their careers.

Burgard also speaks about de Kooning's influence on Diebenkorn noting that «deKooning moving from abstraction to figuration... that gives Diebenkorn the license and permission to consider that option as well.

Although I do believe that he was somewhat influenced by abstraction later on.

She has been influenced by a contemplation of this interplay in other artists, and the allusive possibilities of abstraction to give form to this relation, most notably in FIELDS, an ongoing series of beeswax and mixed media drawings on paper.

The present exhibitionconsiders Teng's influence as both a cultural interpreter and an artistic practitioner on the development of Tobey's distinctive artistic practice and — through Tobey — on the discourse on abstraction in midcentury American art.

He wound up creating some of the most astonishing nature paintings in the history of Western art, swirling effusions of light and color that flirted with abstraction, sharply divided the critics of his era and have been cited as strong influences on the Impressionists, Mark Rothko and contemporary light sculptor James Turrell.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.

His efforts have been a major influence on movements as far ranging as Post-Painterly Abstraction, Minimalism, Pop Art and Op - Art.

That sparked a conversation about abstract art's powerful influence on fashion, which got us noticing abstraction's influence in other places, like preschools, boardrooms, and outer space; culminating in linguistic revelation.

Group Exhibitions 2018 Stretch / Pulled / Inked, Impact Arts, as part of the Glasgow International, Glasgow (upcoming) Glasshouse, Glasgow Botanic Gardens, Glasgow (upcoming) 2017 Amazing Perplexity, Curated by Nathalie Hoyos, Rainald Schumacher and Alevtina Kakhidze, Residents Group Exhibition of FACE — Artist Residence Program in Kiev 2016 Factually Real Illusions, curated by Lorna McDowell, Cookhouse Gallery Chelsea College of Art, London Semi-Gloss, Semi-Permeable, Glasgow International Festival 2015 International Women's Contemporary Art Forum — A Crossing Section of Art, BankART Studio NYK, Yokohama Finite Project Altered When Open, David Dale Gallery, Glasgow Abstraction from Architecture, Edinburgh Print Studio Hold, Sway, Generator Projects, Dundee 2013 Editionshow, Chert, Berlin You're my wife now, Infernoesque project space, Berlin Every Day, GoMA, Gallery of Modern Art, Glasgow 2012 Tintenfisch, CNEAI =, Paris, organized by Chert & Motto in the frame of Berlin - Paris exchange 2011 Industrial Aesthetics: Environmental Influences on Recent Art from Scotland, Times Square Gallery of Hunter College, City University of New York Annuale, Edinburgh 2010 Drinnen & Draussen, Chert, Berlin A man, some chickens and one corner, with Petrit Halilaj and Heike Kabisch, Berlin — Paris exchange, Galerie Carlos Cardenas, Paris, with Chert, Berlin 2009 Spacioux, curated by Michela Arfiero, Paola Gallio, Daniela Lotta, Lambretto Art Project, Milan Motto & Chert & Roses, Tulips & Roses, Vilnius 2008 You can't hide your love forever, LH Gallery, Paris And So It Goes, Art news Projects, Berlin MFA Degree Show, Tramway, Glasgow Flock, Bezalel Gallery, Tel Aviv 2007 MFA Interim show, Glasgow School of Art, Glasgow Devil Blue Dress, The Factory, Impact Arts, Glasgow 2005 Tercet, Intermedia, King Street, Glasgow 2004 Pieces, The Factory, Impact Arts, Glasgow

Over the course of the 1960s, however, Thomas began to move towards abstraction, drawing on a variety of influences from painter Wassily Kandinsky to American artist and textile designer Lois Mailou Jones.

The inevitably inconclusive and problematical relationship between shared American and British influences in Contemporary art (leading to Abstraction in the 1950s / 60s) is, perhaps, still unresolved — at least for those of us who are still enthralled by Patrick Heron's take on the relationship between the New York School and the St.Ives painters.