Sentences with phrase «into abstract works of art»

Sloan's recent body of work involves digitally manipulating paparazzi photographs into abstract works of art.

Not exact matches

After seeing hundreds of shops and meeting thousands of people on this journey, I have all the confidence in the world that letterpress printing will remain a viable art form; I'm especially thrilled by people who are doing experimental and abstract work - those novel ways of working with the medium are what will carry it into the future and keep the art form vibrant.

Breaking with the lyrical, abstract styles then dominant in Paris, the nine artists present declared their commitment to «new perceptions of the real,» incorporating found objects and quotidian materials into their work in an attempt to blur the distinction between art and everyday life.

In an attempt to avoid the trappings of abstract and figurative art, the artists made extensive use of collage and assemblage, appropriating images and incorporating real objects into the work.

One of the more interesting phenomena that Kandel explains is that when viewing abstract paintings the brain uses what he calls a «top - down» mechanism to recruit personal experience, imagination, creativity, and responses to other works of art into the process.

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» ExpeArt 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» ExpeArt, 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» ExpeArt 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» ExpeArt 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» ExpeArt 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» Expeart 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» ExpeArt 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» ExpeArt; 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» ExpeArt: 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» Expeart: 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» ExpeArt 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.

Bryan Robertson: I've always understood, maybe over-simplistically, that the great abstract art of this century came about by a process of working through reality or some aspect of the physical world — the nude, landscape, the interior or still - life — in stages towards simplification, and then, like a sort of exorcism, a casting away of what Rothko called «crutches», venturing into some form of abstraction without any obvious references to the physical world, but maybe with some distilled, remembered vestiges of its appearance — like Mondrian's sequence of trees.

Number three in the series is currently hanging in Victoria Miro's Mayfair gallery, as part of a deep dive into the women artists in contemporary abstract painting who art history has ignored — in the form of an exhibition titled Surface Work.

We spoke to Finley about his work, his process, and why the integration of technology into the visual arts is less a break from the history of abstract art than a beautiful evolution.

Charles Ray was born in Chicago in 1953 and today lives in Los Angeles He started his career in the 1980s creating abstract art, and later introduced the human figure into his work, always confronting question of space.

In the latest example of the Nasher Sculpture Center's foray into contemporary art, Mark Grotjahn Sculpture is the first museum exhibition to focus on a body of work in this discipline from an artist primarily known as an abstract painter.

Acquiring experience in this field of art, he slowly installed more emotions into work, causing him to touch another style of art — abstract expressionism.

For his first New York show with Hauser & Wirth, Mark Bradford is presenting a slew of new canvases and video works that reflect his ongoing engagement with what he calls «social abstraction» — abstract art that points towards social and political realities without descending into didacticism.

What I've discovered as I moved into this work is the essentially abstract nature of the art fair spaces.

Rubbing up against the movers and shakers of abstract expressionism, Voulkos turned the traditionally staid ceramic arts on its head, poking and prodding surfaces into non-functional works of abstracted sculptural art.

These artists (like Eric Fischl, David Salle, Elizabeth Murray, Kenny Scharf, Julian Schnabel) ignored critic Clement Greenberg and his prescriptive view of Modernism that had influenced the previous generation of artists, and instead crafted works that combined figurative subjects, abstract landscapes, and intuitive mark - making into volatile works of art.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

Combining the seductive invocations of fire with Guyton's signature use of abstract lettering, these works played a critical role in the development of an oeuvre that has come to represent one of the twenty - first century's most searing enquiries into the relationship between art and technology.

These did to arte povera just what Eva Hesse's works did to Minimalism: inject a strong dose of carnality and bodily matters into the art of a rather abstract and intellectual movement.

It was while working in New York as a sign painter by day and an abstract painter by night that he had the idea to import the giant - scale, broadly painted representational pictures from outdoor advertising into the realm of fine art.

Number three in the series is currently hanging in Victoria Miro's Wharf Road gallery, as part of a deep dive into the women artists in contemporary abstract painting who art history has ignored — in the form of an exhibition titled Surface Work.

Maychack studied art in the San Francisco Bay Area, and absorbed its traditions of assemblage, trompe - l'oeil illusionism and personal mythology; but also the post-minimalist interest in imbuing emotion and presence into abstract structures; he cites the personal, idiosyncratic work of Jessica Stockholder and Martin Puryear as major influences.

Though typically labeled an Abstract Expressionist, his work might better be described as abstract and expressionist, with liberal doses of Surrealism, Art Brut, and a few other eclectic affinities thrown into the mix.

Richter, having been a member of the board of trustees since 2009 and designing covers for their annual CDs since 2014, was involved with some of his abstract works that were digitally cut and edited into a 32 - minute film that accompanied the performance of music by Markus Schmickler, highlighting the connections between art and music.

Ossorio speaks of his youth and education in England and the United States; attending Harvard; working as a medical illustrator for the Army; coming to New York and becoming acquainted with Jackson Pollock and other New York artists; a mural commission he received for a church in the Philippines; the difficulty of introducing new ideas into Catholic art; traveling to Paris; his association with Jean Dubuffet; changes in his technique; his work in collage; his affiliation with the Signa Gallery; abstract expressionism.

His colorful, expressive and bold style Carly's works pioneers a new direction in abstract art, his works are illustrated by multilayers of shapes, bold strokes and sketches that pull the viewer into a vortex of dynamism and color.»

In post war decades, the abstract expressionism slid into different fields of op art and geometric abstraction in United States, while the European answer was the invention of lyrical abstraction, art informel and political abstraction in the works of CoBrA members Karel Appel, Constant and Asger Jorn.

The art of Zin Helena Song penetrates its surrounding space by hanging on the walls, defined by smooth colored angles that turns them into miniature abstract works of architecture.

NYC - based Chilean artist Pablo Tauler uses just a ballpoint pen for his meticulously drawn illustrations on display at Norte Maar, which turn ethereal scenes and abstract forms into bold, large - scale works of art.

After her large - scale sculpture, sound and light installation at Künstlerhaus Bethanien (Berlin, 2014), at Herzliya Museum of Contemporary Art (Israel, 2014) and currently at Petach Tikva Museum of Art (Israel, 2015), the last episode at Grimmuseum remains more abstract and fragmentary, dealing with the relatively domestic nature of the exhibition space, which allows Rodeh to shift from her monolithic large - scale works into more detailed object - based techniques and elements.

At POTSE 68, he will introduce his new project called Le Grand Verre, (a reference to Marcel Duchamp's iconic work by the same name) it merges abstract painting, photography and light art into new perspectives on the history of art.

As well as offering insights into the ideas and working practices of some of Britain's most acclaimed artists, the film also documents the often - uncertain public response to abstract art and considers the legacy of the artists today.

His notable works include Double Negative (1969 - 70), a pair of trenches in the desert near Overton, Nevada, created by displacing 240,000 tons of rock, and City, an ongoing project in Lincoln County, Nevada, described by critic Michael Kimmelman as «a suite of giant, variously shaped abstract sculptures over an area that covers more than a mile end to end — modern art turned into monumental abstract architecture, with ancient ruins as the model.»

2014 «A Town Not This One,» Galerie Thaddaeus Ropac, Villa Kast, Salzburg, Austria, August 30 — November 15, 2014 «Folded Photographs,» Xavier Hufkens, Brussels, Belgium, February 6 — March 8, 2014 «Memento Mori,» Galleria Christian Stein, Milan, Italy, April 29, 2014 2013 «Ennui: La Vie Continue,» Galerie Thaddaeus Ropac, Paris, France, March 2013 «The End of the World,» Regen Projects, Los Angeles, CA, January 12 — February 16, 2013 2012 «Jack Pierson: Jesus and Nazimova,» Xavier Hufkens, Brussels, Belgium, September 7 — October 6, 2012 2011 «Jack Pierson: Twilight,» Elizabeth Leach Gallery, Portland, OR, June 2 — July 16, 2011 2010 «Jack Pierson,» Regina Gallery, Moscow, Russia, November 24 — January 15, 2011 «Jack Pierson: Drawings,» Galerie Thaddaeus Ropac, Salzburg, Austria, October 2 — November 20, 2010 «Jack Pierson,» Galerie Thaddaeus Ropac, Paris, France, July 6 — August, 2010 «Jack Pierson: Go there now and take this with you,» Bortolami Gallery, New York, NY June 24 — August 30, 2010 «Night,» Kukje Gallery, Seoul, Korea, May 4 — June 17, 2010 «Jack Pierson,» Regen Projects, Los Angeles, CA, March 12 — April 17, 2010 «Jack Pierson: New Photographs,» Galerie Sabine Kunst, Munich, Germany January 14 — February 27, 2010 2009 «Abstracts,» Cheim & Read, New York, NY, October 8 — November 14, 2009 «Jack Pierson,» CAC Malaga, Malaga, Spain, June 19 — September 27, 2009 «Jack Pierson,» Galleria Christian Stein, Milan, Italy, May 25 — July 31, 2009 2008 «Jack Pierson,» Xavier Hufkens, Brussels, Belgium June 19 — July 26, 2008 «Jack Pierson,» Irish Museum of Modern Art, Dublin, Ireland, March 11 — May 18, 2008 2007 «Jack Pierson,» Regen Projects, Los Angeles, CA, April 14 — May 19, 2007 «Jack Pierson: Self Portraits,» Sabine Knust, Münich, Germany, November 29, 2006 — January 27, 2007 2006 «Jack Pierson: The Golden Hour,» Aurel Scheibler, Berlin, Germany, December 1, 2006 — March 3, 2007 «Jack Pierson,» Centre D'Art Santa Monica, Barcelona, Spain, December 15, 2006 — March 4, 2007 «Jack Pierson: Recent Works,» Galerie Thaddaeus Ropac, Paris, France, June 29 — July 29, 2006 «Jack Pierson: Melancholia Passing into Madness,» Cheim & Read, New York, NY, March 30 — May 6, 2006 2005 «Jack Pierson: Early Works and Beyond - Goodbye Yellow Brick Road,» Daniel Reich Gallery in co-operation with Cheim & Read Gallery, New York, NY, December 15, 2005 — January 28, 2006; travels to Galerie Aurel Scheibler, Berlin, Germany, September 30 — November 13, 2006 «Jack Pierson: Self Portraits,» Alison Jacques Gallery, London, UK, October 20 — November 19, 2005 «Jack Pierson,» Javier Lopez Gallery, Madrid, Spain, June 8 — July 31, 2005 2004 «Jack Pierson,» Alison Jacques Gallery, London, UK, September 10 — October 9, 2004 «Self - Portrait,» Angstrom Gallery, Dallas, TX, June 12 — July 17, 2004 «Self - Portrait,» Regen Projects, Los Angeles, CA, June 4 — July 3, 2004 «Jack Pierson,» Galerie Sabine Knust, Munich, Germany, November 10 — January 22, 2005 2003 «Jack Pierson: One Adapts,» Cheim & Read, New York, NY, November 20, 2003 — January 3, 2004 «Jack Pierson,» Galerie Aurel Scheibler, Cologne, Germany, October 30 — December 20 «Jack Pierson,» Roger Bjorkholmen, Stockholm, Sweden, August 28 — September 24 «Jack Pierson: Why?

At the end of the 1960s, he embarked on an intense phase of drawing, something that culminated in his breaking away in painting from the «purity» demanded of abstract art: Guston introduced coarse figures and fragments of figures into his works; they populate his pink, red, black and blue canvases, smoking, drinking, and not infrequently painting.

Not only does her work oppose Greenberg's judgment, it also calls into question the idea that painting — perhaps in particular abstract painting — is somehow a-temporal, an art of space rather than time.

To draw people in and make the kind of East - West, ancient - contemporary connections that the museum is increasingly exploring, Knight, the senior curator of Chinese art, has integrated works by three Asian - influenced American abstract artists into the gallery where Zhang Ruitu's giant scroll hangs: Franz Kline, Brice Marden and Mark Tobey.

The works are grouped into five categories: «Assembling,» referring to assemblage art, «Artists / Gallerists,» a look at artists who, lacking gallery representation, simply opened their own venues, «Front Runners,» some of the most visible of these artists, «Post / Minimalism and Performance,» including practitioners of the Finish Fetish style and other abstract works and «Los Angeles Snapshot / Friends,» which looks at these artists» relationships with artists of other ethnic backgrounds to provide greater context.

Unlike other abstract sculptors of the time, Caro eschewed traditional art materials, creating sculptures with found steel, plates and beams welded into angular assemblages; and made works that are positioned directly onto the floor without a traditional platform or fixed center.

Nothing in Moderation Musée National des Beaux - Arts du Québec, Québec City (catalogue) 2016 Joan Mitchell: Drawing Into Painting Cheim & Read, New York 2015 Joan Mitchell - At The Harbor And In The Grand Vallée Edward Tyler Nahem Fine Art, New York Kunsthaus Bregenz, Bregenz (catalogue)(traveling to Museum Ludwig, Cologne, 2015) 2014 Joan Mitchell: Trees Cheim & Read, New York (catalogue) 2013 Galerie Max Hetzler, Berlin (catalogue) At Home in Poetry Poetry Foundation, Chicago An American Master Lehigh University Art Galleries, Bethlehem, Pennsylvania 2012 The Last Decade The Butler Institute of Contemporary Art, Youngstown The Last Paintings Hauser & Wirth, London 2011 The Last Paintings Cheim & Read, New York (catalogue) Paintings from the Fifties Lennon, Weinberg, Inc., New York 2010 The Last Decade Gagosian Gallery, Beverly Hills Inverleith House Royal Botanic Garden, Edinburgh (catalogue) Joan Mitchell in New Orleans: Paintings New Orleans Museum of Art Joan Mitchell in New Orleans: Prints Contemporary Arts Center, New Orleans Joan Mitchell in New Orleans: Works on Paper Newcomb Art Gallery, Tulane University The Roaring Fifties Galerie Thomas Modern, Munich 2009 Joan Mitchell: Drawings Kukje Gallery, Seoul (catalogue) Joan Mitchell: Sunflowers Hauser & Wirth, Zurich 2008 A Discovery of the New York School Musée des Impressionnismes, Giverny; traveled to: Palazzo Magnani, Reggio Emilia; Kunsthalle Emden, Emden (catalogue) Joan Mitchell: Sunflowers Cheim & Read, New York (catalogue) Joan Mitchell: Paintings and Pastels 1973 — 1983 Lennon, Weinberg, Inc., New York 2007 Leaving America Hauser & Wirth, London (catalogue) Joan Mitchell: Works on Paper 1956 — 1992 Cheim & Read, New York (catalogue) 2006 de Young Museum, San Francisco Joan Mitchell: A Survey 1952 — 1992 Kukje Gallery, Seoul (catalogue) 2005 Joan Mitchell: Prints from the Foundation Susan Sheehan Gallery, New York Joan Mitchell: The 1946 — 1952 Sketchbook Drawings and Related Works Pollock Gallery, Southern Methodist University, Dallas Joan Mitchell: Frémicourt Paintings 1960 — 62 Cheim & Read, New York (catalogue) Joan Mitchell Sketchbook 1949 — 51 Francis M. Naumann, New York 2002 Robert Miller Gallery, New York Petit Lennon, Weinberg, Inc., New York The Paintings of Joan Mitchell Whitney Museum of American Art, New York; traveled to: Birmingham Museum of Art, Birmingham, Alabama; Modern Art Museum of Fort Worth, Fort Worth; The Phillips Collection, Washington, D.C.; Des Moines Art Center, Iowa (catalogue) The Presence of Absence Cheim & Read, New York (catalogue) Memory Abstracted Edward Tyler Nahem Fine Art, New York Working with Poets: Joan Mitchell Tibor de Nagy, New York 1999 The Nature of Abstraction: Joan Mitchell Paintings, Drawings, and Prints Walker Art Center, Minneapolis 1998 From Nature to Abstraction Nave Museum, Victoria Paintings, 1950 — 1955 from the Estate of Joan Mitchell Robert Miller Gallery, New York 1997 IVAM Centre Julio González, Valencia Joan Mitchell: Selected Paintings Lennon, Weinberg, Inc., New York Galerie Won, Seoul Pastels by Joan Mitchell Phillips Collection, Washington, D.C. 1996 Joan Mitchell: Pastels Musée des Beaux - Arts de Rouen, Rouen Joan Mitchell: Paintings from 1956 to 1958 Robert Miller Gallery, New York (catalogue) 1995 Joan Mitchell: Tilleuls, 1978.

Paintings from the 1950s include such works as Stephen Pace's Untitled (51 - 90), a dynamic abstract painting in which forms move into and through the picture plane in the mode of the art of Pace's teacher Hans Hofmann, Melville Price's Untitled (ca. 1959), a gestural painting in the abstract expressionist idiom in which figurative elements have a suggestive presence, and George Segal's Three Nudes (1959), in which a psychological tension is conveyed in the expressively treated figures that are integrated into spaces defined by veils or blankets of color.

Because works of abstract expressionism can diverge wildly in terms of structure and technique, art historian Irving Sandler divides abstract expressionists into two categories: gesture painters and color - field painters.

In discussing the place of painting and sculpture in the culture of our time, I shall refer only to those kinds which, whether abstract or not, have a fresh inventive character, that art which is called «modern» not simply because it is of our century, but because it is the work of artists who take seriously the challenge of new possibilities and wish to introduce into their work perceptions, ideas and experiences which have come about only within our time.

Sandi has been accepted into and won awards at many local and national juried shows, held a solo show of her abstract works, «Urban Edge,» in 2016, and was commissioned in 2016 to paint two abstracts for a large - scale permanent public art installation as part of the «Art Walls» project in Crystal City, Arlington, VA, on view at 12th St. and Army - Navy Driart installation as part of the «Art Walls» project in Crystal City, Arlington, VA, on view at 12th St. and Army - Navy DriArt Walls» project in Crystal City, Arlington, VA, on view at 12th St. and Army - Navy Drive.

The international and intergenerational group of artists and their works allow us a glimpse into the art history of black color and emphasize the long tradition of abstract art as well but also provide for us a glimpse into new trends of contemporary art, since over a third of the featured works are newly created.