Sentences with phrase «minds of abstract artists»

Nonetheless, his enthusiastic rejection of the old took root in the minds of abstract artists, leading to powerful changes on the near horizon.

Not exact matches

With artists such as Paul Klee, Wassily Kandinsky, Emma Kunz, and later on Rothko, Barnett Newman, and Agnes Martin, abstract art clearly implied expression of ideas concerning the spiritual, the unconscious, and the mind.

As the Rorschach paintings transform from beautiful abstracts to loose figurations of our own imaginations, we are simultaneously exploring the inner psyche of the artist's mind during the time of their creation — Warhol psychological self - portrait.

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» Expmind» 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» ExpMind» 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.

Other far - flung artists come to mind upon viewing Hendler's work, as he was clearly in the thick of the big names of the abstract expressionist movement.

ORANGES AND SARDINES: CONVERSATIONS ON ABSTRACT PAINTING OPENS AT THE HAMMER MUSEUM On view at the Hammer November 9 - February 8, 2009 Los Angeles, CA - Oranges and Sardines examines art through the eyes and minds of artists and is a testament to the persistence of the visual art object, particularly abstract pABSTRACT PAINTING OPENS AT THE HAMMER MUSEUM On view at the Hammer November 9 - February 8, 2009 Los Angeles, CA - Oranges and Sardines examines art through the eyes and minds of artists and is a testament to the persistence of the visual art object, particularly abstract pabstract painting.

Named after a gallery that was to become the very first gallery in Soho, and which included like - minded artists Ed Ruda, Mark di Suvero, Peter Forakis, Robert Grosvenor Anthony Magar, Forrest Myers, Tamara Melcher, and Dean Fleming, The Park Place Group was an idiosyncratic bunch whose work, though abstract and geometric, didn't accord with the prevailing Minimalist ethos of pure form.

If you had to choose one artist who personified Abstract Expressionism — someone who put New York on the map as the epicenter of the art world in the post — World War II era, and whose passion literally exploded the restrained, modernist mind - set of abstract art in general — that artist would be Jackson Pollock.

As an abstract artist, I am philosophically interested in the subjectivity of the mind, and its capacity for skewing perspectives of external events or the physical world.»

Though there may be a physical referent or memory on which an abstract painting is based — as for instance with Elaine de Kooning's Bullfight (1959), which is inspired by bullfights the artist saw in Mexico — the gestural and corporeal nature of abstraction ensures that the image is inextricably tied to the artist's hand, body, and mind.

Independent - minded, somewhat eccentric and seemingly unaffected by the shifting trends of the art world in the latter half of the 20th century, Mr. Davie was an early European admirer of postwar American abstract artists like Jackson Pollock, Mark Rothko and Willem de Kooning, whom he first encountered at the 1948 Venice Biennale as well as in the collection of Peggy Guggenheim (who bought two of Mr. Davie's works).

Rather than rendering direct representations of his travels, the artist abstracts bits and pieces from the road, cultural impressions and his personal psyche offering to create a glimpse not of the place itself, but into the traveler's mind.

The words «abstract expressionism» bring to mind the paintings of Jackson Pollock, Mark Rothko, and Franz Kline, but a new show at the Denver Art Museum hopes call greater attention to the women of the period, including artists Mary Abbott, Grace Hartigan, Ethel Schwabacher, and Joan Mitchell.

Her pure abstract paintings call to mind the stained canvases of the Color Field artists, but her work embodies a unique elegance that differentiates it from that of her contemporaries.

Some consider Feeley part of the Color Field arm of Abstract Expressionism as well, while other critics such as Gene Baro saw an independent artist unrelated to the abstract expressionist legacy — «in the way that baroque art is remote from ancient Egyptian art and presumes different standards of value and habits of mind.»

Her works often bring to mind the works of the abstract expressionists, especially that of Helen Frankenthaler, who is one of the notable female artists in that movement.

Without the slightest trace of doubt in mind, Ellsworth Kelly was one of the greatest 20th - century abstract artists emerging from the United States.

The exhibition at the Kunstmuseum Bonn presents 35 works by Albert Oehlen from every phase of his career, including the computer paintings of the early 1980s, the grey paintings of the 1990s, and the artist's current abstract - expressive works, as well as a group of his most recent works, which were created with the Bonn exhibition in mind.

Tagged as: abstract art, abstract expressionism, Arch Enemy Arts, art, art installation, art news, Caitlin McCormack, DoNArTNeWs, Eric Richardson, mixed media art, Old City Arts District, paintings, Philadelphia, Philadelphia art, Philadelphia Art Galleries, Philadelphia art shows, Philadelphia artists, sculpture, Sheri DeBow, The Castles of My Mind

We'll try to answer that question this week as we look at stories from the world of abstract art that examine artists» minds.

Brian Truesdale's development as an abstract artist is genuinely portrayed in this month's Mind of the Aartist is genuinely portrayed in this month's Mind of the ArtistArtist.