Sentences with phrase «larger history of abstraction»

Magnetic Fields: Expanding American Abstraction, 1960s to Today places the visual vocabularies of these artists in context with one another and within the larger history of abstraction.

On view at the National Museum of Women in the Arts in Washington, D.C., through Jan. 21, 2018, the show considers their work in context with each other and the larger history of abstraction.

Not exact matches

Abstraction has strong publisher and first party relationships from its history of working on large adaptations, such as Angry Birds and Hotline Miami.

Moreover, if one considers the alternate history of Schapiro's having continued to work in this vein of geometric abstraction, given the typical narratives of the time, her career would likely have plateaued in relation to a colleague like Held, in part because he was a male artist, with all the privileges that brought, and in part because he was, in that mode, perhaps a stronger artist: as impressive as «Byzantium» is, it can't compete with the impact of Held's paintings as paintings, their literal physicality — the extra thick stretchers and larger size and the paint handling, which manages to be worked even when flat — and their composition, which bends vision into sci - fi space but also retains the power of the overall ground.

Magnetic Fields: Expanding American Abstraction, 1960s to Today places abstract works by multiple generations of black women artists in context with one another — and within the larger history of abstract art — for the first time, revealing the artists» role as under - recognized leaders in aAbstraction, 1960s to Today places abstract works by multiple generations of black women artists in context with one another — and within the larger history of abstract art — for the first time, revealing the artists» role as under - recognized leaders in abstractionabstraction.

Best known for large - scale interiors, landscapes, and portraits featuring powerful black figures, Marshall explores narratives of African American history from slave ships to the present and draws upon his deep knowledge of art history from the Renaissance to twentieth - century abstraction, as well as other sources such as the comic book and the muralist tradition.

NORTH ADAMS, MASSACHUSETTS — In her largest solo exhibition to date, New York - based artist Steffani Jemison uses the complicated role of language and literacy in black history to explore narration, abstraction, citizenship, education, and the role of the archive.

Lewis's innovative, socially - conscious abstract painting, thanks to the work of curators at PAFA and younger scholars, will now play a larger role in the histories of mid-century abstraction.

Mark Bradford's large - scale canvas The Rabbit Didn't Dare, 2013, combines painting and collage to form grid - patterned abstractions, recalling the artist's history of mapping the «psychogeography of the city he calls home [Los Angeles].»

For these artists, who were in their 30s and 40s during the 1980s, it was not a question of a «return to painting,» but, rather, of finding a bridge between the radical, deconstructive abstraction of the late 1960s and 1970s (which many of them had been marked by) with a larger painting history and more subjective approaches.

Despite the unequivocal virtuoso nature of the works and their large museum history, they are too esoteric, too far afield from the artist's colorful abstractions or blurred photo - based realism to be wholly absorbed and embraced — for the moment at least.

Best known for his large - scale paintings featuring black figures, defiant assertions of blackness in a medium in which African Americans have long been «invisible men,» Marshall's interrogation of art history covers a broad temporal swath stretching from the Renaissance to 20th - century American abstraction.