Sentences with phrase «lines of abstract art»

He believed that ideas, feelings and the subconscious were best communicated through the bold forms and gestural lines of abstract art.

Not exact matches

This geometric abstract art harmonizes greens, blues and pinks with an intricate study of line and form.

Combining graphic, jagged lines with a love of primary pops of colour, contemporary artist Lin Michelle exploits unconventional and innovative materials and textures to create bold, abstract art pieces that pack a statement - making punch.

Featuring 2 gorgeous abstract works of art, encased in handsome black frames lined in silver, the Set of 2 Trajectory Framed Wall Art from Uttermost will bring sophisticated beauty to any room of your hoart, encased in handsome black frames lined in silver, the Set of 2 Trajectory Framed Wall Art from Uttermost will bring sophisticated beauty to any room of your hoArt from Uttermost will bring sophisticated beauty to any room of your home.

The colour palette includes bright colours and smooth textures, fused with long lines and soft curves that simulate the natural beauty and sensuality of the human body through abstract art.

Because of my struggles with the line between abstract and figurative art, I'm always intrigued to find an artist who has managed to successfully straddle the two.

It's an impressive line up, spanning several generations of artists, born in every decade from the 1930s to the 1980s, and making a convincing case for the growing relevance of abstract art in the UK.

The current exhibition of Herrera's work at the Whitney Museum, entitled «Lines of Sight,» with a beautiful accompanying catalogue by Dana Miller, endeavors to rectify the art world's long - term neglect: it focuses on Herrera's work from 1948 - 1978, from her earliest abstracts through the various stages of her artistic evolution.

This art is determinedly abstract, but a video makes it hard to ignore the resemblance to a horizon line or the texture of rock and soil.

The faded surface of «Corrupt Diptych» is haunting, like the distinct sensation of déjà vu, the dirt and gravel is metaphorical not material, moving this artwork away from hyphenated arts (art - and - environment) towards something more mysterious with its abstract lines that race past the corner of the gallery's gyprock wall; themes of time and movement that have more in common with land art than abstract painting.

This exhibition focuses on the analysis of a set of works from the Berardo Collection in which the artists have made free and creative use of line, form and colour, elements which are intrinsically linked to our lives, to all that we see, touch and feel and can be considered the main building blocks of abstract art since the beginning of the 20th century.

Hard edge painting and its artists relied on color, shape and line to make impersonal artworks of entirely abstract art.

Back in the 1990s, when many in the art world had turned their back on painting as a «dead» medium, Amy Sillman was one of the leaders of an underground revival, combining cartoonish imagery, a draughtsmanlike line, and jazzy color combinations to give new life to the legacy of abstract expressionism.

Lines & Myths: Abstraction in American Art, 1941 - 1951 explores the manner in which artists experimented with Surrealist automatism during the 1940s - an era of complex growth and transition which proved instrumental in the genesis of abstract expressionism.

Lines, colors, shapes are arranged in space and while at first the composition doesn't seem to stand out in any specific way, what you're in fact looking at is what art historians consider to be the very first non-objective or abstract painting of the 20th century.

Unlike van Gogh, who in the Nineteenth Century could not yet imagine a wholly abstract art, Mitchell mobilized her artistic will to liberate the constituent elements of painting — line and color, composition and gesture — from their servitude to the fleeting appearances of the material world.

Thus, Morgan's portrayal of repeating lines and abstract forms prefigures Minimalism in dance and visual arts.

While abstraction seemed to be moving in new directions, the longevity of the group itself can be attributed to its lack of dogma, rejection of any party line or adherence to any manifestoes, and a general open enthusiasm for abstract art in all its variations.

Considered a forefather of the Pop Art movement, Stuart Davis translated the visual imagery of New York City and the jazz music of the mid-20th Century into iconographic abstract paintings of squiggly lines and flashy colors.

Robert Irwin, who began his career in L.A. in the late fifties as a robust abstract expressionist, modeling vast canvases, today confines himself to spare gestures - subtle manipulations of line, scrim, light - specifically suited to the particulars of the site and context of each new project (the University Art Museum itself will play host to such an installation early next year).

When the mesh of lines dropped away, he was free to concentrate on his abiding commitment, the non-figurative exploration of colour and the effect on the retina of the juxtaposition of pure colours (he insisted on the term «non-figurative»: all art, he would say, was abstract).

It also came just as the organizer of Radical Presence, Contemporary Arts Museum Houston senior curator Valerie Cassel Oliver, was preparing to open the first installment of Black in the Abstract, a two - part exploration of abstract painting by black artists, as part of CAMH's six - exhibition, two - installment abstraction extravaganza, Outside the Lines.

For Australian abstract painters to look back at this moment, and compare it to their own, could prove quite beneficial, and force a complete reversal of what we are always taught, that Blue Poles and other paintings like it signify the end of the line for painting, the last port of call before the inevitable disembodiment into performance and conceptual art.

He curated an exhibition for the Arts Council at the Hayward Gallery in 1976, entitled «The Human Clay» (an allusion to a line by W. H. Auden), including works by 48 London artists, such as William Roberts, Richard Carline, Colin Self and Maggi Hambling, championing the cause of figurative art at a time when abstract was dominant.

9/11 provoked the best art here, which includes Indrė Šerpytytė's apparently abstract painting of metallic vertical lines.

His Surrender Flag with Dollar Skull, or Surrender Flag with Zombie Abstraction, 2015, appears as a sort of battle standard in the face of a whitewashed art market that has embraced a brand of politically neutered, highly salable abstract painting, many of whose trappings Vélez reworks into his own practice — airbrushed lines, torn canvases, messy brushstrokes.

And through an experimental approach to material, and an inventive handling of undulating line and geometric pattern, she proceeded to advance not only textile art, but also the course of abstract art — a movement that her male contemporaries Paul Klee, Wassily Kandinsky, and her husband Josef Albers are sooner recognized for.

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.

The large - scale abstract sculpture Celeste (2013), a squiggly tube made of white powder - coated steel and installed outdoors in New York's High Line park, pares the forms of modern art down to their essentials — an attempt to create what Bove calls «generic sculpture.»

He had left Sheffield in 1956 knowing nothing of abstract art (having been discouraged, in fact, from even indulging an interest in Rouault and Expressionism) and ended his term at the Royal Academy Schools in 1960 having been swept into the front line of abstract experiment in London.

Europeans and European Americans didn't fully embrace abstract art until the early 20th century, when artists like Piet Mondrian and Ilya Bolotowsky used color, lines, and geometric forms as their means of expression.

Hill, a member of the L.A. arts scene of the 1970s, puts together materials such as fabric, paper, newsprint and thread to create collaged, abstract works that ride the dividing line between painting and textile.

Over the course of his career Terry Winters has expanded the concerns of abstract art, beginning with botanically inspired images (cells, spores, seeds) and going on to explore biological processes, scientific and mathematical fields, and issues raised by the interaction of information technologies and the human mind, while maintaining a strong modernist sensibility that reveals itself in the symbolic languages of figures and lines he develops in his work Winters (born 1949) received a BFA from Pratt University, New York, in 1971.

Andrew Masullo's idiosyncratic, small, colorful abstract paintings (a sort of Mary Heilmann meets Thomas Nozkowski) installed playfully not following a center line seem to be looking back to the same art historical moment in the early 19th century as Bess.

Gallagher's collection consists of artistic explorations of the abstract and the figural, landscape and portrait, and line and color in modern art.

The mingling of abstract and faintly gridded grounds with mysterious physiognomies acts as a way to line up the experiences of rigid geometric and abstract modernism with the popular symbols and narratives of figurative art history.

Using jewellery as an art - form, she evolved new techniques which included controlled fusion with precious metals, to obtain fine textures, broken surfaces, and fluid lines...... Her overall concepts are a subtle blend of abstract form and Eastern splendour, with a distant echo of the flowing elements in Art Nouveau.&raqart - form, she evolved new techniques which included controlled fusion with precious metals, to obtain fine textures, broken surfaces, and fluid lines...... Her overall concepts are a subtle blend of abstract form and Eastern splendour, with a distant echo of the flowing elements in Art Nouveau.&raqArt Nouveau.»

Carmen Herrera, «Lines of Sight» Through 1/2, the Whitney Museum of American Art The Cuban centenarian fills the Whitney with her bright, abstract minimalist paintings.

Plenty of people, and not old ones either, can remember a time when people certainly didn't get in line to see such work, when Freud, instead of being placed alongside Edward Hopper in the pantheon of modern painting, was seen (if glimpsed at all) as a mere afterthought to the world triumph of American abstract art.

«The Abstract Impulse,» at the National Academy Museum through February 2008 «A visual time line of the museum's 50 - year love - hate relationship with abstract art.»

This was not a Monster Roster, this was a socially conscious group of artists who were not in line with New York, with abstract expressionism, with Greenbergians evicting everything that was thoughtful from art to be replaced by surface, you know?

In a shortlist for NY Magazine, Rachel Wolff recommends these shows as a respite from the grueling NYC humidity: «The Abstract Impulse,» at the National Academy Museum through February 2008 «A visual time line of the museum's 50 - year love - hate relationship with abstract art.»

The exhibition «The Bottom Line» presents various aspects of drawing as a form of contemporary art: from abstract to figurative, from small format to large, from rapid sketches to slow, large - scale projects and from drawing as film to drawing as performance.

A consistent innovator at the forefront of abstract art, Stella produces his works in series, immersing himself in visual thinking and creating according to the principle of, in his words, «line, plane, volume, and point, within space.»

Noted for his simultaneous commitment to exploring the formal, abstract qualities of art (line, texture, composition and, especially color) and the creation of representational images drawn from his daily encounters with people and places, Avery's Vermont work vividly captures his family's summer activities and the artist's personal response to the Vermont landscape.

By this time, abstract art in the public imagination had come to be equated with the clean lines and aesthetic pragmatism of the machine - age.

To understand why Riley is such a huge original you need to compare these drawings — for instance Untitled (Right Angle Curve)(1966) which plots a typically eye - flummoxing whoosh of black lines — with the great American abstract painters who had transformed art after the second world war.

Instead, some artists relied on the basic formal elements of art — for instance, line, shape, and color — to suggest abstract, universal concepts (love, war, music, spirit, energy).

Lathan - Stiefel's installation Eannead is an abstract, mixed - media interpretation of the human brain, on display in Terminal A. Kephart's essays «Love: A Philadelphia Affair,» offering an insider's perspective of the city from the daily commute on SEPTA's rail line to the galleries of the Philadelphia Museum of Art, are on view in Terminal D. Read more >>

As Westfall puts it, abstract art «had come to be equated with the clean lines and aesthetic pragmatism of the machine - age.»