Sentences with phrase «much of it abstract painting»

Painting did not do too badly either, much of it abstract painting.

Staunchly gray on white, Feldman's palette in particular separates her rigorous practice from much of the abstract painting of her contemporaries, and resists any easy categorization.

In an era where much of the abstract painting being made is designed to blend seamlessly with the interiors of modern and mid-century homes, it is gratifying to see the work of an artist who never compromises to suit taste, historical paradigms, or practicality.

Not exact matches

Here are some paintings of fruit: much abstract, such beauty, so art.

In much Abstract Expressionist painting of the 50s, notably paintings by Rothko and Newman, expanded abstract visual fields reflect the viewer's gaze, conjuring an awareness of self.

Consider the most visible trend in recent years of Zombie Formalism, a kind of reductive, easily produced abstract painting, sold quickly to collectors queued up on waiting lists and hungry for innocuous, decorative works in a signature style, so much so that the name of the artist himself becomes the brand.

Art fairs are often associated with abstract painting (much of it looking the same), stunt pieces (almost instantly forgettable), and neon sculptures (brightly and, in many cases, annoying), but, at this year's Armory Show in New York, some galleries had on offer works that explicitly addressed the political situation in the United States.

It should have been clear from the start that any book whose aim was to discuss only the abstract painting of the past fifty years was necessarily doomed to give a shallow and misleading account of much of it — which is exactly what M. Seuphor, in perhaps forty pages of undistinguished prose, has done.

So I was very much, in the first couple of years of abstract painting again, I was very much on guard for....

The essay «Painting and Countenance» is, as is much of my writing on painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this Painting and Countenance» is, as is much of my writing on painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting, especially abstract painting in this painting in this country.

And if this kind of quotidian encounter was part of modernism's initial dream, we should remember that for a long time, abstract painting in particular has confined itself to much tinier spaces and more exclusive demographics.

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.

Agnes Pelton,» Incarnation,» 1929 In the LA Times blog, Christopher Knight reports that «the kernel of a powerful idea resides within «Illumination,» an exhibition of abstract paintings by four women who worked in the deserts of the American Southwest and whose careers pretty much spanned the 20th century.

Though his paintings were decidedly abstract, with seemingly little foundation in representation or figuration, Hartung spent much of his early career copying works by Rembrandt, Goya and Van Gogh.

The close valued color shifts, luminosity, paint quality, brushwork, texture, and alloverness of drawing anticipate Jackson Pollock, Mark Rothko, Willem de Kooning, Barnett Newman, the arrival of Morris Louis, Larry Poons and much of what was to come in the best abstract painting from the 1940's to the present day.

Just as the Suprematist paintings anticipate most developments in abstract painting throughout the rest of the twentieth century, so these startling medleys of words and images anticipate much of subsequent conceptual art.

Steeped in Hofmann's modernist theories, Kahn nonetheless developed a style of landscape painting that owes as much to the impressionists as it does to abstract expressionism.

While the first exhibition in 2008 * focused on the iconic Estate Paintings, White Abstracts and History Paintings which established Coventry's reputation in the 1990s, Works 2002 - 2009 will include an extraordinarily wide range of work, much of it overtly figurative, including major new works that have never before been exhibited.

Much of his work relates to abstract expressionism and minimalist painting, remixing formal characteristics to highlight the cultural and social histories of the time, such as the civil rights movement.

Still's style of abstract expressionism, according to Sobel, showed that «the material of art itself can be expressive as much as the scale and the imagery you include within the painting.»

As so regularly in Rauschenberg's best work, a painting such as Charlene (1954), with its exuberant central panel of abstract marks and its competing compartments made of so much stuff, completes a tendency in his work, killing it off with a flourish and issuing a reckless demand for more — more and different.

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.

Caivano's works incorporate an uncompromising yet individual approach to the tradition of abstract painting, drawing as much on unique perceptions of colour, space, texture, volume and light as on art history.

Thus when the viewer sees the red date and signature of one of Mr. Kim's recent paintings the first association may be with the chop signature of a traditional Korean ink drawing, but it may just as easily be considered as a formal addition to the painting much in the way that Robert Ryman has continued in his work of 1996 to incorporate the date into his own seemingly minimalist, abstract paintings.

Over the past twenty - five years Noel Yauch has produced hundreds of paintings, still abstract — differing from his early attempts only in as much as they are more precise — coming from a man who as an architect spent years addressing formal relationships, those relationships now between color and balance.

We can say that it is abstract, non-objective, about colour and form and our perception of those things, but we live in an age of plastic, so much more baggage to look at paintings with.

Like other encounters with «masterpieces» at the Guggenheim, a 1996 survey of abstract painting and «The Tradition of the New» from 1994, this exhibition pretty much ends twenty years ago, with Art Povera.

I'd go part way along with you, in as much as I absolutely agree that abstract painting has to get over the iconic works of the last century and discover some new territory.

Metier begins with an actual subject, and then, using her expressive brushwork, turns it into an abstract composition; though more representational than usual for her, these paintings were still very much a part of her classic style.

The Chicago painter Miyoko Ito (1918 - 1983), who was born in Berkeley and interned during World War II, is one of the latter: her strange abstract paintings, informed as much by Giorgio Morandi's sallow still lifes as by the legacy of Surrealism, come as a revelation.

Dan Coombs has suggested that the abstract paintings of Tomma Abts are better understood «not so much as material objects in the abstract painting tradition but as surrogate people with their own personalities.

I myself once compared her paintings to those of Josef Albers, seeing them as «fundamentally abstract, the house [being] not so much a house as the form of a house, a given shape, a certain geometry,» like those endless squares painted by the ex-Bauhaus colorist.

By asking if the half - hearted semi-failure of much new abstract painting isn't «just as interesting» as any stereotypical success, you end up endorsing all its wanton lack of originality.

There is a sense of estrangement in both paintings (as there is in much of the work in this room), with their subtle departures from the conventions of abstract painting — Thompson's perfect geometry drenched in oil bleeds; Martin's imperfect geometry quavering on a flimsy armature — stirring a shift in expectations and the anxieties that accompany it: a locus of confusion, hostility, and acceptance that the art critic and historian Dore Ashton called «the unknown shore.»

Realism is the art style most people regard as «real art,» where the subject of the painting looks very much like the real thing, rather than being stylized or abstracted.

Much later, he was to draw on these dual interests in his oil painting Ground, begun in 1971, though altered in 1995, in which the plan of a football pitch is reduced to a virtually abstract composition.

Other collections were not so much kept as withheld, such as Hilma af Klint's suite of abstract paintings from 1906 — 15, which she kept hidden for decades after her death, venturing that her work would be better appreciated beyond her own time.

Wyeth's gull paintings are much looser and freer than his earlier work, even containing splashes of color with the wild abandon of an abstract expressionist.

David Reed is a grandmaster — no painter has contributed as much in terms of expanding the vocabulary of abstract painting and maintaining its relevance during this era of marginalization, although there are many in New York who currently enjoy greater status.

Ramsden's works are abstract compositions of bold gestural marks, where the paint itself is as much a part of the work as the image it depicts.

The paintings of Rauschenberg and Johns show so much intelligence we must assume the choice to cling to the modes of abstract expressionism after its creative heyday was not made in the dark, as one suspects it was in the case of de Kooning's followers.

GLENN O'BRIEN — I think one of the key differences with abstract painting is that the idea of beauty was still very much there.

Not lines and not brushstrokes with any overly aggressive verve, Hughes's upright shafts of color replace the struggle that you see in so much abstract painting with an exuberance that seems soft and effortless.

Is it too much of a risk for the Tate, with its eye on attendance figures, to promote exhibitions of abstract painting to a mass audience whose attention span has been shortened by the expectation that contemporary art should be either shocking or fun?

Amongst the frequent visitors of l'Equipe during 1937 was the then figurative painter Serge Poliakoff, who borrowed much from Lacasse's abstract sketches, to deliver his first abstract painting at the gallery in 1938.

Divided into three sections, the writings reveal Riley's relationship to different topics over time, including the term «abstract», the influence of Georges Seurat and Paul Cézanne, the role of color and painting throughout art history, the importance of perception, and much more.

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.

In fact, to focus too much on the artist's identity clouds the fact that Bradford is still coming down from «Scorched Earth,» a survey at the Hammer Museum that was zealously received, due in part to Bradford's ability to bring much - needed political concerns into his handcrafted abstract process of assemblage and painting.

Jaeger spent much of the summer making abstract silk paintings in upstate New York as a resident at the Shandaken Project residency at Storm King Art Center.

But the artist and critic Brian O'Doherty did something of the sort in the 1970s, when he wrote of how far both the creation and canonisation of modern art had been informed by the dominant «white cube» model of gallery space, which had conferred a monumental aura on much large - scale abstract painting.