Sentences with phrase «modernist abstract works»

Born in Washington, D.C., Puryear is based in Hudson Valley, N.Y. Over the past half century, he has established a unique sculptural practice utilizing traditional craft, carpentry, and boat building skills to create modernist abstract works that are inspired by nature and draw on a range of cultures, histories and motifs.

Not exact matches

In her recent show with the Beijing satellite gallery of New York's Chambers Fine Art, she has concentrated on what she calls landscape paintings, which don't present landscapes so much as a kind of floating abstract world reminiscent of the work of the Chilean modernist, Roberto Matta, in their atmospheric effect.

On view are Illustrations by early modernist Arthur Dove and others, a genre group by John Rogers, experimental photography by Martina Lopez, abstract work by James Rosenquist as well as works by Alonzo Chappel, François Girardon, George Grosz, Daniel Ridgeway Knight, Henry Varnum Poor, Adolf Schreyer, and others.

As early as 1906, af Klint was working with abstract imagery — giving her a lead of several years in the modernist race to be the first to discover abstraction.

Through paint, collage, and sculpture, she is locating herself within three histories she has inherited — of being black, of being a woman, and of being an artist working within the largely white, chauvinistic modernist vocabulary of photocollage and abstract painting.

Beauford Delaney was an American modernist painter, best known for his work with the Harlem Renaissance and his later works in abstract expressionism.

Recently, we began collecting the work of contemporary self - taught or outsider artists and the abstract paintings and sculpture created by a group of leading American modernists who gathered in Bennington in the 1950s through the 1970s.

Simões de Assis Galeria de Arte will bring together eight historical works by the Brazilian modernist Cícero Dias (b. 1907, d. 2003), which represent the height of his abstract creations and were produced following his move to Paris, where he became associated with other prominent artists at the time including Alexander Calder, Fernand Léger, Joan Miró and Pablo Picasso.

In 1962, Markus Lüpertz began to paint his «dithyrambic» paintings, serial works in which he explored both mundane and politically charged subjects using modernist, abstract expressionist, and pop styles.

The interlocking marble pieces of Colloquium (2013) come together to create a sculpture reminiscent of the formally inventive works of twentieth - century abstract modernists, most explicitly Isamu Noguchi.

Lambri's carefully composed and thought - out works evoke art - historical traditions of minimalism and abstract painting, and therefore, her images often display Modernist ideals of framing, abstraction, and transcendence.

Her work is a mixture of abstract and figurative in the Modernist tradition, with influence from African and Mexican art traditions.

Many of Alston's abstract works from this decade were inspired by African art, but unlike several of his his abstract expressionist contemporaries whose passion for American Indian, Pacific, and African art was connected to a modernist search for an imagined «primitive» impulse, Alston's paintings were created through an intimate knowledge of African aesthetics.

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» Expert.

To date, these later works have been marginalized for her 1940s geometric, abstract paintings that resemble her aged friend, the great Dutch modernist Piet Mondrian.

His work makes references to the late modernist tradition of the New York abstract expressionists, yet stand out as the products of a contemporary struggle, pointing at the grey blocks of paint covering up graffitied walls of Istanbul, metaphorically paralleling the country's everlasting attempt of covering up creative progress of free direction.

Facets of the Figure is a thought provoking survey of the various aesthetic interpretations of the human form in painting and sculpture by juxtaposing museum - caliber works by Surrealists, realists, Expressionists, modernists, social realists, and abstract expressionists.

Mangold's woodcuts premiering for the first time are also presented in conversation with works such as Movement in White, Umber, and Cobalt Green (1950) by early American modernist John Marin (1870 — 1953), known for his abstract landscapes, and with Duet and Murmur (2014), New York — based contemporary artist Cheonae Kim's (1952 ---RRB- paintings from her linear black - and - white series.

As an internationally recognized artist whose work spanned five decades, Allan D'Arcangelo began painting at a pivotal moment when artists, critics, and dealers were challenging the dominance of abstract expressionism and other modernist doctrines and hotly contesting new criteria in defining the creation and interpretation of art in society.

Trained as a realist painter, he became a pioneering abstract artist after seeing works by Van Gogh, Gauguin, Matisse, Picasso, and other European modernists at the Armory Show in New York in 1913.

From there, his almost flat, almost abstract works, with their contrasting planes of colour and reminiscences of doorways and cheerful bunting, provided Brazilian artists with a bridge between the bright, figurative paintings of Brazilian modernists such as Emiliano di Cavalcanti and Tarsila do Amaral and the geometric abstraction of the 1950s Neo-Concrete movement and Grupo Ruptura.

She is primarily known for her colorful abstract work which masterfully juxtaposes Brazilian cultural imagery and references to western modernist painting techniques.

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 1969 Alvin Loving: Paintings was immensely successful; critics like Dore Ashton placed Loving's work directly in the context of modernist art in a transitional moment from abstract expressionism to op art and other minimalist approaches.

In The Gifted Amateur, Nov. 10th, 1962 (2007) for example, Graham assumes the role of an amateur artist, creating generic abstract works in a Modernist interior.

His early work features broad, calm rectangles in the manner of the American Color Field painters, but Hoyland's distinctive contribution has been to break with the modernist insistence on a flat surface and to put perspective back into abstract painting: his mature work is characterised by depth and texture, in which strange objects float in the foreground or middle distance, against an often mysterious background, in a way that is oddly reminiscent of Miro.

Evocative of the Modernist sculptures of David Smith or Alexander Calder as well as Henri Matisse's boldly - colored abstract collages, these more abstract works combine Wood's interest in direct experience with his fascination with the many forms and genres found throughout art history.

The modernist abstract tradition where the words «big» and «abstract» belong together has clear resonance with Morris» work, yet in these little paintings she almost turns the theory of colour - field abstraction on its head.»

Permanent collection encompasses Impressionist and Post-Impressionist styles exemplified by Gauguin and van Gogh; works of Cubism, Surrealism, and Constructivism by artists like Picasso, Braque, Matisse, Derain, Miro, Mondrian, and Alexander Rodchenko; more modernist items of abstract expressionism, pop art and contemporary art by Arshile Gorky, Jackson Pollock and Andy Warhol.

Though this body of work is strictly abstract and thus linked to the modernist canon, nature remains its major source of inspiration.

Above all, his forms pay tribute to the works of other modernist sculptures, echoing the organic and abstracted shapes of Barbara Hepworth's, or the deliberately disproportional, undulating and imperfect reclining forms of Henry Moore.

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.

Ceramics Finds Its Place in the Art - World Mainstream Lilly Wei writes... From the first generation of modernists who worked in clay to contemporary practitioners, all have made breakthroughs: in scale, in single objects as well as expansive installations; in technical experimentation; in increasingly original formal resolutions from the abstract to the realistic; and in content, exploring issues about the body, identity, politics, history, feminism, domesticity, means of production, and beauty... more

The colour music experiments of Modernist abstract painters such as Roy de Maistre and Ludwig Hirschfeld - Mack will inform a more recent series of work John Nixon, whose paintings will be «played» in the gallery by a musical ensemble.

Further alluding to art history, the colorful background and abstract forms in Hothouse, as in many of Abney's works, recalls the pop - cubist style of the American modernist painter Stuart Davis.

Following up her earlier work critiquing mid-century modernism, i.e., abstract painting, in which she redid Kenneth Noland stripe paintings as awnings, Morris Louis stain paintings as tie - dyes and even Barnett Newman «zips» as monochromes divided with real zippers, Dunphy is now taking on the entire modernist canon in the form of miniature embroideries.

Barbara Hepworth (b. 1903, Yorkshire; d. 1975, St. Ives, Cornwall) was a modernist British sculptor who, over the course of her career, changed her works from simplified naturalistic forms to purely abstract shapes.

Seriality seems to be a distinctly modernist phenomenon, and is found to greater or lesser extent in impressionism, cubism, abstract expressionism, Louis, Noland, etc., but never so clearly as in Stella's early work.

Still abstract, these small - scale works are cover versions of some of her favorite modernist painters, including Kazimir Malevich, Philip Guston and Robert Ryman, while they equally flaunt the nurturing influence of her father, an abstract painter, and her mother, a textile designer, in their playful colors and forms.

His abstract works may fit into the modernist tradition, but by using his own autobiographical material as a foundation, he complicates the paradigm, boldly charting out his own identity in the process.

AH: Even though I am interested in all those movements especially modernist painting, surrealist collage, abstract expressionism, and pop art not very many people have discussed that aspect of the work in depth.

The gallery will showcase works by modernist master Rolph Scarlett, beautiful New England work by post-impressionist painter Hayley Lever, abstract expressionist work by Anna Walinska and minimalist work by contemporary artist Larry Wolhandler.

★ Studio Museum in Harlem: «Stanley Whitney: Dance the Orange» (through Oct. 25) This well - chosen show of works from the past decade surveys the maturation of a late - blooming abstract painter who has revived the modernist grid with a distinctive combination of freehand geometry and bold color (the full spectrum) and altogether an unprecedented sense of improvisation and, complexity.

MUSIC, architecture and art melded in a picture - perfect Modernist moment in 1957 every time abstract painter Karl Benjamin went to work.

His work from this period shows an affinity with the abstract idiom of the group, as well as the influence of modernist masters such as Paul Klee, Kasimir Malevich and Piet Mondrian.

At Anton Kern (532 West 20th Street, Chelsea), Shio Kusaka, a young Los Angeles artist, is making an exciting New York debut with works that deliberately relocate some of abstract art's staples — grids, parallel lines, repeating marks — to ceramics, a medium that has yet to receive its due from modernist art history.

Works by one of the world's leading abstract artists, Sean Scully will go on show at Luis Barragán's iconic modernist landmark, Cuadra San Cristóbal in Mexico City from 7 February.

Balancing the tangible and the abstract, Menconi + Schoelkopf, also from New York, will present work by the Canadian artistRalston Crawford, a luminary of Precisionism — a uniquely American Modernist Movement.

Title:» Transition» An abstract Modernist work exhibiting strong surrealistic characteristics.

In other paintings, the work is entirely abstract but it is as if he has cropped or zoomed into the image, suggesting digital manipulations re-presenting or editing Modernist formats.