Sentences with phrase «minimal color field paintings»

Gronquist pairs this series with minimal color field paintings that also have a fading quality.

NEW YORK, NEW YORK, March 12, 2015 — Berry Campbell is pleased to announce, Walter Darby Bannard: Minimal Color Field Paintings 1958 - 1965 featuring rare paintings and works on paper from the artist's early years as a painter in New York and New Jersey.

Not exact matches

In his paintings he reflected abstract - minimalist trends in 20th century art as were manifest, say, in the Russian avant - garde, American color field painting or Minimal Art.

Connections between European structural - constructive painting and American tendencies — Minimal Art, Color Field Painting, Hard Edge, Op Art — can plainly be seen in the Collection in works by Adolf Fleischmann, Hartmut Böhm, Andreas Brandt, Ulrich Erben, Gottfried Honegger, Karl Gerstner, Hermann Glöckner, Manfred Mohr and Anton Stapainting and American tendencies — Minimal Art, Color Field Painting, Hard Edge, Op Art — can plainly be seen in the Collection in works by Adolf Fleischmann, Hartmut Böhm, Andreas Brandt, Ulrich Erben, Gottfried Honegger, Karl Gerstner, Hermann Glöckner, Manfred Mohr and Anton StaPainting, Hard Edge, Op Art — can plainly be seen in the Collection in works by Adolf Fleischmann, Hartmut Böhm, Andreas Brandt, Ulrich Erben, Gottfried Honegger, Karl Gerstner, Hermann Glöckner, Manfred Mohr and Anton Stankowski.

[33] Lyrical Abstraction, Conceptual Art, Postminimalism, Earth Art, Video, Performance art, Installation art, along with the continuation of Fluxus, Abstract Expressionism, Color Field Painting, Hard - edge painting, Minimal Art, Op art, Pop Art, Photorealism and New Realism extended the boundaries of Contemporary Art in the mid-1960s through thPainting, Hard - edge painting, Minimal Art, Op art, Pop Art, Photorealism and New Realism extended the boundaries of Contemporary Art in the mid-1960s through thpainting, Minimal Art, Op art, Pop Art, Photorealism and New Realism extended the boundaries of Contemporary Art in the mid-1960s through the 1970s.

In her paintings of the 70s, Steir often combined realistically painted flowers with a grid or color field, on one hand paying homage to admired Minimal artists Sol LeWitt and Agnes Martin, and on the other, questioning the dichotomy between abstraction and figuration.

This resulted in his minimal «line paintings» and then canvases filled with fields of subtle gradations of color created by thousands of dots.

In the mid - and late 1960s, contemporary art galleries were filled with big, abstract Color Field paintings and physically formidable Minimal sculpture.

The monumental paintings of Shaffer's Greenhouse Effect exhibition (1991) demonstrate a shift in theme, as she employed minimal color - fields to suggest haunted landscapes affected by eco-devastation.

This series echo the «Color Field Painting» of the 1950s American painters as well as the minimal gesture of Minimalism; an aesthetic that Rouillard consciously absorbed to regenerate them through vernacular objects.

This exhibition explores the highly formulated and transitional status of geometrical abstraction in the work of women artists from three generations: beginning with (Neo) concrete works on paper from the 1950s by Lygia Pape, to Minimal and Color Field paintings from the 1960s by Rosemarie Castoro and Gina Pane, the 1960 - 80s Pop Art influenced pattern paintings by Barbro Östlihn, to post-Concretist installations, structural and systemic experiments and text pieces from the 1970s and 80s by Lydia Okumura, Lenora de Barros, Martha Araújo, Dóra Maurer and Samia Halaby, to the original contemporary formulations of this history by Paloma Bosquê.

Mechanical and minimal, these paintings feature a single joke silkscreened at the dead center of an unmodulated field of color.

From abstract expressionism, to gorgeous fields of color, to minimal manipulation of surface and texture, painting and sculpture was the arena where these ideas found their most varied expression.

Often expansive in scale, her paintings on canvas, paper, and wood primarily feature a lone figure isolated within a minimal field of pastel color.