Sentences with phrase «influence on contemporary painting»

Demonstrating his immeasurable influence on contemporary painting, «Albert Oehlen: Home and Garden» will feature paintings from several of his most important bodies of work.

Not exact matches

Celebrating nearly 20 years of collecting contemporary western landscapes, Western Horizons features more than 25 paintings that demonstrate the American West's enduring influence on artists.

Reflections Of Monet has alongside an 1880's Monet landscape examples from the museum's permanent collection that reflect Monet's lasting influence on important contemporary painting.

The first major exhibition of Morandi's later work in America since the acclaimed 2008 retrospective at the Metropolitan Museum of Art, New York, the show will focus primarily on the period during which he developed and refined his investigations of serial, reductive, and permutational forms and compositions — aspects that had a profound influence on twentieth - century and contemporary art and painting.

Through paintings, drawings, sculptures, installations and documentation, the exhibition will trace the development of Ibrahim's practice and its enduring influence on contemporary art in the UAE.

FRANCIS PICABIA: OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION Picabia was on the ground with the Dadaists in Paris, but this exhibition includes his later work, which has influenced contemporary painters — perverse figurative paintings that look like precursors to Pop Art, or pulp fiction book covers.

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.

This catalogue of the exhibiton begins chronologically with Pollock's early sketchbook studies based on old master paintings by Michelangelo and El Greco, as well as those influenced by his contemporaries, mainly the Mexican muralists Jose Clemente Orozco and David Alfaro Siqueiros.

2003 Painting Lesson, Galleria Cardi & Co., Milan (catalogue) Conversations: Influence and Collaboration in Contemporary Art, Evergreen House, Johns Hopkins University, Baltimore, MD (catalogue) A Notion of Time, Ingrao Gallery, New York Intersection... Art / Design / New Media, Jan Abrams Fine Art, New York Fall Colors: Group Show, Baldwin Gallery, Aspen, CO On the Edge: Contemporary Art from the DaimlerChrysler Collection, The Detroit Institute of Arts, Detroit, MI On: Inaugural Show, Galerie Xippas, Athens Unframed First Look, Lehmann Maupin Gallery, New York The DaimlerChrysler Collection, Museum für Neue Kunst & Medienmuseum, Karlsruhe, Germany The Past of the Present: Selections from the ABN AMRO Collection, Shanghai Art Museum, Shanghai, China; travelled to Singapore Art Museum, Singapore; Pinacoteca do Estado de São Paulo, São Paolo Painting: from Rauschenberg to Murakami, 1964 — 2003, 50th Venice Biennale, Venice (catalogue) American Beauty, McClain Gallery, Houston, TX Recent Screenprints, Maya Stendhal Gallery, New York New York Contemporaries, Maya Stendhal Gallery, New York White on White, Galerie Xippas, ParOn the Edge: Contemporary Art from the DaimlerChrysler Collection, The Detroit Institute of Arts, Detroit, MI On: Inaugural Show, Galerie Xippas, Athens Unframed First Look, Lehmann Maupin Gallery, New York The DaimlerChrysler Collection, Museum für Neue Kunst & Medienmuseum, Karlsruhe, Germany The Past of the Present: Selections from the ABN AMRO Collection, Shanghai Art Museum, Shanghai, China; travelled to Singapore Art Museum, Singapore; Pinacoteca do Estado de São Paulo, São Paolo Painting: from Rauschenberg to Murakami, 1964 — 2003, 50th Venice Biennale, Venice (catalogue) American Beauty, McClain Gallery, Houston, TX Recent Screenprints, Maya Stendhal Gallery, New York New York Contemporaries, Maya Stendhal Gallery, New York White on White, Galerie Xippas, ParOn: Inaugural Show, Galerie Xippas, Athens Unframed First Look, Lehmann Maupin Gallery, New York The DaimlerChrysler Collection, Museum für Neue Kunst & Medienmuseum, Karlsruhe, Germany The Past of the Present: Selections from the ABN AMRO Collection, Shanghai Art Museum, Shanghai, China; travelled to Singapore Art Museum, Singapore; Pinacoteca do Estado de São Paulo, São Paolo Painting: from Rauschenberg to Murakami, 1964 — 2003, 50th Venice Biennale, Venice (catalogue) American Beauty, McClain Gallery, Houston, TX Recent Screenprints, Maya Stendhal Gallery, New York New York Contemporaries, Maya Stendhal Gallery, New York White on White, Galerie Xippas, Paron White, Galerie Xippas, Paris

Martin is a key figure in contemporary American painting, and an abiding influence on a generation...

Painters on Paintings is a conversation between contemporary artists and their influences across time.

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»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»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»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.

Renowned contemporary painter Howard Hodgkin tells Alastair about the genius of Henri Matisse, and the influence his work has had on his own paintings.

Shown alongside these paintings are the next generation of acclaimed contemporary artists whose works built on and opposed those formative attitudes, and reflect the cultural and societal influences of their time.

This thematic display draws on examples of Delacroix's religious, historical, literary and landscape painting to explore his remarkable influence on a variety of artists, from his contemporaries Courbet and Géricault through to 20th century greats Van Gogh, Matisse and Kandinsky.

«Judd and Adkins have each made an indelible mark on contemporary art that is critical to understanding its evolution, while Bannard's influence on Color Field painting and Alÿs» work addressing issues of geopolitical and social conflict in urban environments both merit renewed attention.

Remarking on the «Women Painting Women: Our Collective Conscience,» Demato pointed out that the show not only reveals a snapshot of the current state of painters working in contemporary figurative realism today but provides insights into the different muses influencing female painters today.

, Frac des Pays de la Loire, Carquefou, France Projects 70 - Jim Hodges, Beatriz Milhazes, Faith Ringgold, Museum of Modern Art, New York, USA Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago, Illinois, USA Outbound: Passages from the 90's, Contemporary Arts Museum, Houston, Texas, USA ZONA F; An approach to the spaces inhabited by the feminist discourses in contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,Contemporary Art, Chicago, Illinois, USA Outbound: Passages from the 90's, Contemporary Arts Museum, Houston, Texas, USA ZONA F; An approach to the spaces inhabited by the feminist discourses in contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,Contemporary Arts Museum, Houston, Texas, USA ZONA F; An approach to the spaces inhabited by the feminist discourses in contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, Burlington.

This show of twenty artists highlights in particular the influence of cinematography and video on contemporary painting and photography.

Drawing on global weaving traditions as well as the history of painting and sculpture, graphic design, and architecture, American artist Sheila Hicks has redefined the role of fibre in art and influenced a generation of contemporary artists with her interdisciplinary visual language.

While I'd love for the Museum of Fine Arts, Houston to pass on one of its never - ending «once in a lifetime» opportunities to rent other museums» Impressionist collections, it's hard to see how San Antonio's interests don't include giving the city its first look at a significant concentration of works by the artist Green has argued made the most important painting of the 20th century — especially since SAMA's contemporary collection includes painters such as Hans Hofmann and Richard Diebenkorn whom Matisse influenced.

In her recent paintings, she employs a wide vocabulary of marks which slyly reference the influence of Photoshop on contemporary visual culture.

There is a general consensus that the reinvention of the miniature as a contemporary art form is commendable but its influence on non-Wasli painting artists, who employ photography, installation and sculptural art, is no less amazing.

Her paintings, like her taste in hotels, are both classic and contemporary: influenced by the words of Tolstoy and the notes of Mozart, she's also not afraid to put glitter and plastic on the canvas either.

And while her paintings look far different than those of Kahn, contemporary Abstract Expressionist painter Francine Tint also cites Hofmann as one of the most important influences on her use of color.

Working in different media across many disciplines, this diverse list of contributors is a testament to the reach of Morandi's paintings and their influence on contemporary 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.

Kandinsky's manifesto «On the Spiritual in Art» (1911) served as Der Blaue Reiter's sacred writ and inspired not only Klee's early paintings but also his own seminal text, «Creative Credo» (1920), whose punchline, «Art does not reproduce the visible; rather, it makes visible,» influenced both his contemporaries and his Surrealist scions.

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.

An artist reception will be held on Nov 25 from 3 to 5 p.m. Kustura will exhibit contemporary oil paintings with Modernist, Cubist and Surreal influences.

The catalog features images of the paintings, including «CPRKR» (1982), «Zydeco» (1984), «King Zulu» (1986) and essays by Sirmans (who also heads the contemporary art department at the Los Angeles County Museum of Art), Robert Farris Thompson and Robert O'Meally examine the influence of Southern history and culture on Basquiat's vision.

This gorgeously produced monograph focuses on the period during which Giorgio Morandi (1890 — 1964) developed and refined his investigations of serial, reductive and permutational forms and compositions, a body of work that has had a profound influence on 20th - century contemporary art and painting.

This show explores the influence of his depictions of ruddy - cheeked, sturdy - limbed, pleasure - seeking peasants and mysterious landscape paintings on the several generations of Bruegels who followed in his footsteps and other contemporary artists.

His explorations of light, space and color were crucial for all of the modern and contemporary art, having massive influences on Pop Art, Color Field painting and Minimalism.

His work draws its structures and graphic impact from the influences of tagging, «Mission School» abstraction, and vandalism, meeting a formal and installational logic that draws on the conventions of contemporary painting and sculpture.

For Tuesday Evenings, Daignault discusses her love of Impressionism and its continued influence, both on conceptual art and her work, in «Lasting Impressions: following in the footsteps of the Impressionists in contemporary painting.»

Von Allen's bold paintings and delicate drawings influenced by Abstract Expressionism, contemporary Native American art, and the bond between music and painting will be on view.

The resonant exhibition at CANADA is important not just because it shines a light on the subliminal influence the S / S movement has had on our contemporary aesthetic, but also because it reinforces the notion that abstract painting can be rooted in politics.

Inspired by John Everett Millais» famous painting Ophelia 1851 - 2, one of the star pieces of Tate Britain's autumn exhibition Pre-Raphaelite: Victorian Avant - Garde, Mihara's film will be presented at a special Late at Tate event which explores the continuing influence of Pre-Raphaelites on contemporary art, fashion and music.

Guided by her own understanding of still life and its influence on her practice, the artist has curated a selection of works, ranging from 17th - century paintings to recently completed pieces in a variety of mediums, either by the artist herself or by her contemporaries.

By 1956, Pollock's paintings and painting methods were having an enormous influence on his contemporaries both in America and Europe; the former included such gesturalists as Willem De Kooning (1904 - 97) and Franz Kline (1910 - 62); the latter included gestural artists like Wols (Alfred Otto Wolfgang Schulze)(1913 - 51), sometimes referred to as the «European Jackson Pollock», and the Cobra group leader Karel Appel (1921 - 2006).

Burne - Jones exerted considerable influence on contemporary British painting.

He's definitely revered by some many artists I admire, and I can definitely see the influence on contemporary painters like Amy Sillman, Dana Schutz, Barry McGee, etc... I've only seen a few in person, and from what I remember that's the way you need to see them; the scale, the paint handling, even the smell of the linseed oil.

Guided by her own understanding of still life and its influence on her practice, the artist will curate a diverse selection of works, ranging from 17th - century paintings to recently completed pieces in a variety of mediums, either by the artist herself or by her contemporaries.

In 1954 he was one of «Six Young Contemporaries» at Gimpel Fils Gallery and the following year was awarded a British Council Scholarship to study in Italy, where the landscape, quality of light and simplified depiction of events in the paintings of Fra Angelico and Piero della Francesca had a profound influence on his work.

In this video, contemporary artists Ed Moses, Mark Grotjahn, Roy McMakin, Marcia Hafif, Tony Berlant, Tony DeLap, and James Hayward comment on John McLaughlin's paintings, his style, and his influences.