Sentences with phrase «lot of abstract artists»

Those limits would seem to suit the sensibilities of a lot of abstract artists at the moment, who are happy to work to rules and regulations, and within the precincts of things we know about already; and this tendency chimes with a general heightened awareness of aesthetics and design - related issues.

«I'm not interested in illusionism, the way a lot of abstract artists are.

Not exact matches

Savarino calls himself a modern abstract artist who works with «lots of texture and color» and whose style dictates the kinds of questions he asks potential customers.

Lots of artists try to make abstract paintings that look primitive, but Walker is one of the few to succeed at it.

The painting reminds me a lot of a sidewalk artist's pictograms of some one's name, abstracted and blown - up.

I think the skeptics, at least over the past five years or so, were proven right with regard to the artists who are making abstract paintings that are perfect for the way they are consumed: They make a lot of them, there's a green one and a blue one and a pink one, and you can collect them all like toys in a Cracker Jack box, which is what they're all about.

But if you look at a lot of this abstract painting and you put it against the history of abstraction, or you look at this figurative painting and you put it against the history of straight - up, Modernist figurative painting, a lot of these artists are not really offering anything that adds much.

We've had a lot of younger artists through and people do know him, they have been students of Gilliam, but it's also important for the younger generations to see these works especially as abstract painting has entered the center of the conversation again.

Among the works that did well were Lot 16, a charming small sculpture, one of three examples down in 1945 - 6, by David Smith, shown above, that sold for $ 220,000 (not including the buyer's premium) and had had a high estimate of $ 150,000; Lot 5, «Atantolone,» a gloss household paint on canvas of colored dots on a white field that sold for $ 170,000 (not including the buyer's premium), well over its high estimate of $ 120,000; Lot 14, a large 1943 painted wood and wire sculpture, «Constellation,» by Alexander Calder (1898 - 1976) that sold for $ 1,982,500 (including the buyer's premium), more than double its high estimate, and Lot 24, a larger Calder sculpture, «Trepied,» that sold near its low estimate for $ 1,542,500 (including the buyer's premium); Lot 20, a large and very interesting and abstract but not very colorful 1953 Francis Bacon (1909 - 1992), «Two Figures at a Window,» that sold above its $ 1.2 million high estimate for $ 1,542,500 (including the buyer's premium); Lot 27, «Tour III» by Brice Marden (b. 1938) that sold within its estimates for $ 1,487,500 (including the buyer's premium), tying the artist's record; Lot 41, «Grillo,» by Jean - Michel Basquiat (1960 - 1988) that sold for $ 1,102,500 (including the buyer's premium), also within its pre-sale estimates; and Lot 31, «Vierwaldstätte See,» a large black and white 1969 landscape by Gerhard Richter (b. 1932) that sold for $ 1,047,500 near its low estimate of $ 1 million.

I've never seen Hernández's paintings in the flesh, but I've heard a lot of good things about the Spanish artist mostly known for his large scale abstract painting and his interesting (and contrasting) use of colour.

I tell them war stories of the museum, I worked at the Art Institute of Chicago in museum education for four years and I know why they don't have a lot of abstract art by African American artists.

The top lot, Newman's 1961 abstract canvas that until recently was on view at the Philadelphia Museum of Art, fetched $ 84.14 million, almost doubling the artist's previous auction record of $ 43.8 million set just a year ago.

The question with a Gottlieb exhibition — such as this superbly installed show, with a lot of nice breathing room — is whether his work will look better or weaker in the context of 40 to 50 years of subsequent artists» derivative, and then dismissive, abstract painting.

True to the parameters of abstract expressionist painting, you will find a lot of gestural paint strokes and thickly applied paint, usually favoring line over shape, but each artist represented here is more than a token of the movement, and worthy of inclusion.

A lot of those artists from that time were working in a way where they had to address the fact that abstract expressionists were all the rage.

Not all artists, and certainly not abstract artists... But I spend a lot of time in this room.

I'd argue that it's less interesting to see a Gerhard Richter painting paired with another Richter painting (abstract or figurative), or hung with a work from the same period made by an artist on the other side of the Atlantic (which is what lots of curators and collectors do now).

The Club itself, at its height, never had more than 200 members and a lot of them weren't abstract or avant - garde, they were just friends of artists who were.

A new generation of professional artists comes of age making lots of painting, much of it abstract, mostly vertical in format (very iPhone communicable).

I'll concede that no - one is being «superceded»; but show me where there is lots of new abstract painting that's better, or ANY abstract sculpture that's better, than that being made by Brancaster artists.

Andrew has got at quite a lot of my meaning in his latest comment — I don't think it is possible technically to seriously match the spaces Robin is raising as a comparison — and beating down other abstract artists with — with the means with which he limits abstract painting, the means by which abstract painting, or at least a substantial tranche of it has traditionally been limited.

The proof of the pudding is in the eating; ALL of today's best abstract sculpture and quite a lot of today's best abstract painting is being made by Brancaster artists.

JJ: His work has always struck me as exceptionally generous as if the colors and forms weren't withholding a lot of information or a kind of privileged or esoteric code like some abstract artists.

My 1993 was looking at a lot of abstract painting from different generations, discovering amazing artists like Miguel Angel Rios and Charles Long, and reading two great books of the early 1990s, Greil Marcus's Lipstick Traces and John Ashbery's Flow Chart.

... And a lot of times, I think, black artists can be held back — not being able to be abstract, humorous, visceral, abject.»

A lot of people think art is expensive or out of their reach, but it can be as easy as framing your children's favorite artwork for a whimsical feel or grabbing a canvas and some paint and bringing out your inner artist (like the large abstract hanging in our living room gallery wall!).