Sentences with phrase «language of abstract expressionism»

My approach to the background is similar in spirit to the language of abstract expressionism.

Some of them, such as the handling of paint - brusque, clotted, ejaculatory - come straight out of the language of abstract expressionism, and in particular of Willem de Kooning's pictorial lingo, which was the nursery talk of Rauschenberg's artistic childhood - the parental language he both loved and rebelled against.

Drawing upon the language of abstract expressionism as well as pagan history and folklore, British artist Jessica Warboys makes use of the sea and its actions upon mineral pigments in the creation of her large - scale work.

Upon returning to Manhattan, they found themselves at the center of the burgeoning New York school — Krasner was now married to Jackson Pollock, and both Hofmann and Gorky were seminal figures in the emerging language of abstract expressionism.

The sculptures of «Voyage En Fleurs» deliberately reference the language of abstract expressionism.

Not exact matches

Farouk Hosny's gestural, vibrant palette speaks the universal language of formalist abstraction in a cultural response to Western abstract expressionism.

The bindi becomes a language or code we begin to read through works that elicit formal connections with abstract expressionism, op art, and geometric abstraction from Western painting and the tantric and neo-tantric traditions of India.

His work continuously evolves from a language of gestures and colored born out of abstract expressionism, towards the meticulous painting style seen in the 1964 - 66 series dots paintings.

Using the full visual language of abstraction — color, shape, line, mark, and texture — I merge the traditions of Islamic pattern and abstract expressionism.

Formed in collaboration with Otto Piene, a fellow student at the Kunstakademie Düsseldorf, the ZERO movement departed from the gestural language of European abstract expressionism and sought to reclaim an artistic purity from the ravages of the Second World War.

Impure, imperfect and incomplete, the version of abstraction that emerges from this global journey — from Hong Kong and Islamic regions to Canada, Australia, Europe and the United States — shows how the formal ingenuity of abstract art has been cross-fertilised, from abstract expressionism onwards, by creative discrepancies that arise when disparate visual languages are brought into dialogue.

Rauschenberg would subsequently explain his detachment from what he called «a whole language used in discussions of abstract expressionism that I could never make function for myself; it revolved around words like «tortured,» «struggle,» «pain»»; whereas he himself «could never see those qualities in paint.»

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Perhaps it's something like Pensato's paintings — animal and «human» personages anthropomorphized into the barest semblances of themselves, erased (to use Pensato's own language), and re-represented, brutally, in the grammar of «high» art, with the painterly strokes and complex surfaces of abstract expressionism.

The Sam Feinstein retrospective at the Cape Cod Museum of Art will reveal the seventy - year trajectory of Feinstein's development from realism through expressionism, cubist - expressionism, Hofmann - influenced abstraction to Feinstein's own unique language of color - forms — luminous and life - enhancing — in his monumental, mature abstract paintings.

He integrates pattern and decoration, cubism and abstract expressionism with apparent ease, incorporating a little of each while finding his own rhythm and distinctive language.

«A lot of people are very uncomfortable with abstract expressionism, but to be able to link it to a visual language of representation and see how it changes to this, I think, allows people to make that next step.

In the 1950s, still in the wake of the oppressive experiences of wartime and in distinction from the gestural painting of Europe's brand of abstract expressionism, art informel, ZERO consciously elaborated a monochrome pictorial language suffused with light.

«Unscripted, Naturally» brings together my love for language, calligraphy, collage and the process of abstract expressionism all together in this new suite of paintings as a dedication to my cross cultural heritage and identity as a Filipino American.

A lot of this misunderstanding occurs because we do not yet have a complete language of periodisation for what happens after abstract expressionism but before minimalism.

The artists in the exhibition are fluent in the language and forms of abstract expressionism, minimalism, and primitivism, and they incorporate sincerity, irony, focus, humor, skepticism, diligence and detachment into their work without considering those elements to be contradictory.