Sentences with phrase «more of an abstract artist»

JS Essentially, I'm more of an abstract artist than a representational artist, I mean, it looks like stuff --

Not exact matches

There are more than a dozen works on view in Trump's apartment, including a series of prints by conceptual artist John Baldessari, a massive work by art - market juggernaut Christopher Wool, a small piece by the up - and - coming artist Will Boone, prints by photographer Mariah Robertson, and a small, colorful abstract painting by the young art - world star Alex Da Corte.

Painted in 1939, just before the outbreak of World War II, it then represented a new line for Picasso, whose abstract techniques have done more to influence 20th century painting than that of any other artist.

This doesn't necessarily tell us much about the more abstract work of Rothko, Pollock or Mondrian, since these artists do not offer even the merest glimpse of a recognisable object for the brain to latch on to.

But it is also a heartbreaking portrait of an artist who's been silenced, and Panahi manages to put a human face — his own — on this injustice, and turn what can seem like an abstract violation of rights into something more immediate and terrible, the stifling of a life.

Some artists searched in a figurative direction (Die Brücke / The Bridge), others in a more abstract way of expression (Der Blaue Reiter / Blue Rider).

Many represent popular art of famous artists, and others are more abstract.

Opening: Sadie Laska at CANADA Following her group show at Gavin Brown's Enterprise earlier this year, Sadie Laska (who performs in the sound band I.U.D. along with artist Lizzie Bougatsos) will display more of her explosive abstract canvases in her third solo show to date.

More abstract than anything the artist has previously done, these arrays of patterned and solid - color patches suggest that separate paintings have been shattered and recombined into mosaic - like arrays.

Using color, texture, and myriad geometric structures, these artists forgo mathematical precision in favor of more layered meaning and relate the works as much to landscape, the body, and experience as to their abstract core.

Artwork for Bedrooms draws a parallel narrative from the same moment of young artists who were similarly invested in «poor» materials, but who put them to work in more abstract, fragile, or conceptual ways.

If you think «Eight Movements,» the title of Liat Yossifor's latest exhibition of paintings, sounds more like the title of a Philip Glass recording or the latest release by Steve Reich, you're already onto the idea behind the Israeli artist's stark and highly textural abstract works.

But many more were inspired by the strife of the 1960s, including black artists whose work is primarily conceptual or abstract, and white artists with mainstream popularity.

From Norman Lewis to Joe Overstreet, the Harlem Renaissance — derived tradition of African - American abstract painting (which has historically had a primarily black audience) is intermingled with the tradition of so - called self - taught or outsider artists such as Bill Traylor and Bessie Harvey (whose audience has been mostly in the rural south and mostly black); the more recent wave of African - American conceptualism represented by Adrian Piper, Lorna Simpson, and others (whose work

Organized by VMFA in partnership with the Munch Museum in Oslo, Jasper Johns and Edvard Munch examines how Johns (born 1930), one of America's preeminent artists, mined the work of the Norwegian Expressionist in the late 1970s and early 1980s as he moved away from a decade of abstract painting towards a more open expression of love, sex, loss and death.

Discover more about the abstract artist's style of painting and the influences behind her ground - breaking work

On the cover — Wolfgang Tillmans: Martin Herbert meets up with the Turner - Prize winning German artist, who has gone from London street and club photography to that of broader cultural eyewitness in New York and Berlin, globetrotting still life and natural photography, abstract photography and, more recently, colour and darkroom experimentations that addresses the history of the medium.

Yet Kandinsky's curious gift of colour - hearing, which he successfully translated onto canvas as «visual music», to use the term coined by the art critic Roger Fry in 1912, gave the world another way of appreciating art that would be inherited by many more poets, abstract artists and psychedelic rockers throughout the rest of the disharmonic 20th century.

«The Whitney Museum's revelatory survey of the work that earned O'Keeffe such derision, the evocative, more - or-less abstract art she made starting in 1915 — phenomenally early for an American artist — should reopen eyes to an undeniable fact: O'Keeffe produced some of the most original and ambitious art in the twentieth century.»

More recently, the British artist Ian Davenport has poured stripes of paint down canvases using syringes, letting the colors mix and pool together towards the bottom of his abstract paintings.

Brilliantly combining world - serious and Miami playful, the Rubell Family Collection offered a mini-retrospective selected from its more than 6,300 works and 800 artists, as well as work commissioned for the exhibition from the likes of Mark Flood, Aaron Curry, Kaari Upson, Will Boone and, from newcomer Lucy Dodd, a room - long abstract painting inspired by Picasso's Guernica (watch her prices jump — the Rubells are opinion - makers, as we've seen with Hernan Bas among others).

An artist who has mined the dual seams of abstract painting and conceptual repetition, Christopher Wool has used approaches from decoration, street art, and, in more recent work, the digital landscape.

Along the back wall is a fivesome of the more abstract kind of paintings Mr. Oehlen took up in 1988: soupy brown - gray blurs reminiscent of de Kooning, and embellished with sharper, brighter forms, as if the brooding artist had suddenly cheered up in the work's final stages.

Through the Mint Museum's collection you can trace the evolution of this genre from the work of the Hudson River School painters such as Thomas Cole and Sanford Gifford, who focused on the natural beauty of our country's topography, through the rise of Impressionism: a movement whose artists celebrated a more abstract, subjective view of their surroundings.

As it unfolded, artists in Altoon's orbit — Kenneth Price, Judy Gerowitz (later Chicago), Craig Kauffman and more — moved sexuality to the forefront of their imagery, often in abstract forms.

Barbara Schwartz was one of several artists who sought to vitalize abstract painting by making it more dimensional and like Marilyn Lerner, tried to link it to non-Western traditions.

In Tworkov's drawings there is conflict — a push and pull — whether it is his more familiar gestural abstract charcoal drawings from the 1950s or the mathematically generated geometric works of the artist's later career.

It's tempting to call the explosion of large and exceptional abstract paintings by women artists a vogue, but it's becoming apparent that it's more than that — it has the makings of an art - historical phenomenon.

In the decades up until his death in 2015 at the age of 92, the East End - based artist continued to paint huge ebullient abstracts with ever more vigour, the results a fixture on the walls of the RA's Summer Exhibition.

Featuring more than 100 works spanning from the early 1980s to the present, including a number of new and never - before - seen pieces, the exhibition juxtaposes graphic patterns with abstracted, figurative paintings, creating a fully immersive environment that underscores the artist's systematic dismantling of the hierarchy between design and fine art, and between three - dimensional form and two - dimensional representation.

The show includes more than one hundred drawings by the artist — from early abstract expressionist watercolors of the 1950s and portraits and landscape sketches, to studies for his seminal light installations and late pastels of sailboats.

Because Matta (1911 - 2002) persisted in creating representational imagery, however abstracted, and lived in Europe and South America from the 1950s on, his New York profile faded to the point where, starting in the 1970s, he was thought of more often as Gordon Matta - Clark's father than as a living artist.

I am an abstract artist and almost always put the «heavier» or more «active» elements of the painting at the «top».

In the last year alone, the abstract Spanish artist Miguel Barceló completed a ceramic panorama for the St. Pere... read more... «Churches draw on the spiritual inspiration of contemporary artists»

The pieces include interpretations of microscopic forms, expressive manipulations of unusual angles of vision, playful placements of figures whose points of view contrast with that of the artist and more abstract presentations of a visual experience.

Also seen the same day, down the block from Pace Gallery, in the show at Lennon - Weinberg Gallery, «H.C. Westermann: The Human Condition, Selected Works, 1961 - 1973,» some early drawings by H.C Westermann (1922 - 1981), done (as I overheard the gallerist explaining) when the artist was in the hospital being treated for testicular cancer — which he survived: his wife had brought him some crayons and paper, and he worked on a group of small drawings, some in the artist's characteristic graphic, cartoon - related style, some in a more abstract and less over-determined mode — after he recovered, these were packed away and never shown until now.

One of the more difficult tasks for younger artists is to make abstract painting genuinely new — that is, sincerely and intelligently felt instead of performed (as with too much geometric work) or blurted out (as with too much AbEx - redux brushwork) like a rant in a family argument.

The artists of the AAA tended to focus on the formal qualities of abstract art and those of the TPG were more inclined toward nature and the spiritual, thus calling themselves the Transcendentalists.

The Serenity of Madness is structured into distinct sections: one corresponding to the artist's private world, peopled with friends, family and long - time collaborators; another takes up the public sphere but with a more abstract dimension of experience, utilizing light, memory and temporal, spatial, and spiritual displacement.

Entitled Drip, Drape, Draft, the show presents works by Robert Davis, a close friend of Johnson for more than a decade; Angel Otero, who he has known for some six years; and Sam Gilliam, an older artist from what Johnson refers to as «an almost lost generation of black abstract painters», with whom he recently struck up a mutually significant friendship.

Another artist made O'Hara's vision of an abstract expressionist bed still more real.

This show presents work by more than a dozen artists (all of whom are also curators, and / or have run or currently run spaces of their own) in a range of media that covers several bases: conceptual and abstract art, figural painting and drawings, and political pieces.

After a few proposals, Solomon goes on to ultimately answer her own question with, «Mr. Stella has done more than any other living artist to carry abstract art, the house style of modernism, into the postmodern era.»

Closely connected to the innovative European artists of the 20th - century, her goal was to make the natural world abstract in order to make it more aesthetically appealing.

Although many abstract artists maintain that Abstraction is a community, there is widespread interest in exploring the artists of the movement who lived outside of its more globally recognized regions and schools.

In this way, the viewer will immediately be able to perceive the sympathy between Allen Ruppersberg and Molly Springfield's book drawings, for example, or the more abstract approach of De Cointet and Greek artist Nina Papaconstantinou.

These striking lithographs feature images of maritime landscapes interspersed with more abstract brightly colored spiral shapes, investigating the formal and theoretical kinship between two great artists of our time.

At the Saatchi Gallery, spellbinding shows of American minimalists and abstract painters such as Donald Judd and Brice Marden gave way to displays of more recent contemporary works by emerging artists.

Wit and eccentricity were the key motivators of these «pioneers» who combined various materials and media to produce the «more social type of art» in contrast to the abstract expressionism which was viewed as elitist by some of the artists and theorists.

But his question wasn't wrong per se — it just didn't have much to do with the achievement of his exhibition, which takes a more interesting, less expected tack: Garrels asked six abstract painters working in the United States to «select one or two of their own recent paintings to be shown with works by other artists who have had a significant impact on their thinking and the development of their own work.»