Sentences with phrase «new generation painting»

The appropriation of industrial practices has become the key method of new generation painting and Wool has mastered it like no one else.

With almost 90 % of the works offered for the first time at auction, new generation painting was hotly in demand, redefining the market for many headline artists.

Not exact matches

But a new report based largely on interviews with 30 local union presidents who each have spent less than eight years in office paints an evolved picture of leaders who are often involved in collaborative relationships with their school superintendents; who have to work constantly to balance the needs of a new generation of teachers with the needs of older members; and who see the importance...

Although there are five generations of M3s to choose from here today, we quickly filter through to the brand - new GTS, which is painted fire orange — the same color used by the long - defunct Jagermeister racing team that fielded all kinds of fast BMWs from the 2002 to the 3.2 CSL.

This new generation of the TT - RS is absolutely striking in its aesthetic design, and I must say that it is totally perfect and so classy on its metallic body paint.

At the rear, the independent design of the previous model has been upgraded in the new generation by modified taillights with a higher - end appearance and bumpers whose lower area is also fully painted in body colour.

At the rear, the independent design of the previous model has been upgraded in the new generation by modified, more elegant taillights and bumpers fully painted in car colour in the lower area.

The concept is painted in Subaru's «WR Blue Pearl II,» which is a new generation of the iconic WR blue paint scheme that has been used on production STI's.

Better mileage, better ride quality, better looking, much better paint job, and as far as I can tell this new generation (2008 - 2015) has fixed the rust problem.

Fortunately, my fears were allayed when the 2012 Volkswagen Beetle Turbo rolled into the Car Tech garage (the «New» prefix has been dropped for this second generation) sporting massive 18 - inch wheels, an eye - catching Tornado Red paint job, and new, more aggressive styling that looks better in person than it does in photNew» prefix has been dropped for this second generation) sporting massive 18 - inch wheels, an eye - catching Tornado Red paint job, and new, more aggressive styling that looks better in person than it does in photnew, more aggressive styling that looks better in person than it does in photos.

New to this year's model is a fourth - generation Uconnect, Exterior and Interior Sport Appearance Packages, a new paint color, and the Alloy Edition PackaNew to this year's model is a fourth - generation Uconnect, Exterior and Interior Sport Appearance Packages, a new paint color, and the Alloy Edition Packanew paint color, and the Alloy Edition Package.

Apart from featuring redesigned wheels and a new paint finish (called Luxor) the exterior remains pretty much identical to the previous generation, while inside the cabin the mid-size...

Paperwhite ditches the chip - prone silver paint of the previous Kindle generation for a black finish, a soft - touch - painted back panel, and its new capacitive touch sensor lets it slim down, with a much thinner bezel.

The Last of Us: Remastered is more than just one of last generation's best games with a new coat of paint, it...

«Fans should note that other features built to leverage the next generation hardware like the new weapon paint shop and the new suite of e-sports tools will only be available on Call of Duty: Black Ops III for PS4, Xbox One, and PC,» the publisher says.

Despite early previews stirring up fears that the series was adopting an uncharacteristically dark and gritty tone, this new SSX is pretty much the same, light - hearted, trick - laden action that was a smash hit last generation, just with a fresh coat of paint and a leaderboard system called RiderNet, similar to Need for Speed «s Autolog.

In retrospect, Excitebike 3D was the first taste in the «old is new» philosophy Nintendo has used for its first generation of 3D titles, and is this is the result of how Nintendo will handle remakes and updates, I'd be less opposed to them trotting out the same game with a new coat of paint.

Five years after its initial release, Bethesda has re-released The Elder Scrolls V: Skyrim on current generation consoles (and PC once more) with a new lick of paint.

The Last of Us: Remastered is more than just one of last generation's best games with a new coat of paint, it also acted as a learning experience for developer Naughty Dog when it comes to developing for PlayStation 4.

Calligraphy, miniature painting, Sufi mysticism, and other traditions are the starting point for a new generation of artists from the Islamic world who are using the language of contemporary art to inflect their work with multiple layers of meaning.

In a new video, produced by John Thornton, painter / curator Scott Noel discusses a lineage of observational painting that spans four generations from Edwin Dickinson to recent graduates of the Pennsylvania Academy of Fine Arts.

A new sensibility and a new generation emerged and expanded the vocabulary of abstract painting and sculpture.

Their work has emboldened a new generation of artists to engage with painting, many of whom don't use any paint whatsoever.

Partially in response to an exhibition at the Jewish Museum, Artists of the New York School: Second Generation (1957), organized by Meyer Schapiro, which included twenty - three artists, not one of them affiliated with the Tanager, gallery members at the Tanager spent five years developing what they envisioned as their own New York project, a series of five two - week exhibitions organized around five themes: Old Masters, nature departed, natured observed, paint, and personal mythology.

Among a new generation of abstract painters who emerged combining color field painting with expressionism, the older generation also began infusing new elements of complex space and surface into their works.

The work of these artists was brought into fresh focus and given renewed impetus by the revival of interest in figurative painting by a younger generation that took place in the late 1970s and the 1980s (see neo-expressionism and new spirit painting).

At this moment of renewed relevance, Bernard Buffet: Paintings from 1956 to 1999 reintroduces the artist's oeuvre to a new generation of American viewers, charting a history of the artist's development through a tightly focused selection of highlights from Buffet's career.

Solomon's work would fit within the New York School of abstract painting, albeit a generation later.

Raphael Rubenstein's strong interest in painting is manifested though this exhibition catalogue, which «focuses on New York painting in the 1980s as practiced by a generation born between 1939 and 1949.»

Karen Wilkin, «Greenberg and the Syracuse Artists», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Suzanne Shane, «Greenberg in Syracuse, Then And Now», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Clement Greenberg, «Interview with Clement Greenberg», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 Robert Morgan, Clement Greenberg, Late Writings, University of Minnesota Press 2003 Donald Kuspit, «A Critic's Collection», Artnet.com, August 3, 2001 Karen Wilkin; Bruce Guenther, Clement Greenberg A Critic's Collection, Princeton University Press 2001 «Recontre avec Darryl Hughto, L'mour de la matiere», Pratique Des Arts, no. 36 Fevrier - Mars 2001 Michael Ennis, «Long on Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1973

As figurative painting made a comeback in the late»80s and»90s, a younger generation of artists began to see Katz with new appreciation.

It shows her working past the sheer density of the first generation, with a new technique of poured paint on unsized and unprimed canvas.

Colorfield Paintings» triumph partially succeeded because of the perception in the public mind of a new and separate generation from the Abstract Expressionists.

It was in 1982, a time when a new generation of American artists, and a generation concerned with painting — which had not been the case with young artists for years — was coming to the fore.

Minimalism emerged in the late 1950s when artists such as Frank Stella, whose Black Paintings were exhibited at the Museum of Modern Art in New York in 1959, began to turn away from the gestural art of the previous generation.

More than thirty years later, Gagosian will present to a new generation of viewers a full - scale painted replica of the original work, based on documentation from Lichtenstein's studio and produced under the supervision of his former studio assistant.

Featuring paintings, sculptures, works on paper, photographs, site - specific installations and more, in The Beyond, you'll enjoy the renowned artwork of Georgia O'Keeffe while discovering a new generation of American artists working today:

Janet's work is a touchstone of modern still life paintings, influential for new generations of painters.

Considered one of the most important painters of the twentieth century, Still was among the first generation of Abstract Expressionist artists who developed a new, powerful approach to painting in the years following World War II.

Salad Days, Journal Gallery, Brooklyn, NY De-Nature, Jolie Laide Gallery, Philadelphia, PA In Dialogue, Four Generations of Painting, curated by Peter Makebish, Anonymous Gallery, New York, NY

1969 New American Painting and Sculpture, Museum of Modern Art, New York, NY Posters by Artists, Finch College Museum, New York, NY Sixth Biennial National Religious Art Exhibition, Cranbrook Academy of Art, Bloomfield Hills, MI Centennial Exhibition, Lincoln University, Lincoln, PA Ten Afro - American Artists, Mount Holyoke College, South Hadley, MA The First Generation, Museum of Modern Art, New York, NY Homage to Martin Luther King, Museum of Modern Art, New York, NY Contemporary American Painting, Whitney Museum of American Art, New York, NY

Throughout his career, he has sustained his use of found materials and chance - based processes, transforming the conventions of painting and opening the door for a new generation of young artists.

1987 1987 Biennial Exhibition, Whitney Museum of American Art, New York (catalogue) Perverted by Language, Hillwood Art Gallery, Long Island University, Greenvale, NY (curated by Robert Nickas, catalogue) Reconstruct / Deconstruct, John Gibson Gallery, New York (curated by Robert Nickas, catalogue) Extreme Order: Cemin, Gober, Halley, Lemieux, Steinbach, Lia Rumma Gallery, Naples (curated by Collins & Milazzo, brochure) Primary Structures, Rhona Hoffman Gallery, Chicago (curated by Robert Nickas) Avant - Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles (catalogue) Paint — Film, Bess Cutler Gallery, New York Post-Abstract Abstraction, The Aldrich Museum of Contemporary Art, Ridgefield, CT (curated by Eugene Schwartz, catalogue) NY Art Now: The Saatchi Collection, Saatchi Gallery, London (catalogue) Generations of Geometry, Whitney Museum of American Art at The Equitable Center, New York Similia / Dissimilia, Columbia University Art Gallery, New York; travelled to Sonnabend Gallery and Leo Castelli Gallery, New York; Städtische Kunsthalle, Düsseldorf, Germany (curated by Rainer Crone, catalogue) The Castle, documenta 8, Kassel, Germany (curated by Group Material) Reinhard Onnasch Galerie, Berlin (catalogue) Anti-Baudrillard, White Columns, New York (curated by Group Material) Recent Tendencies in Black and White, Sidney Janis Gallery, New York (curated by Jerry Saltz, catalogue) Terrae Motus, Grand Palais, Paris (catalogue) The Beauty of Circumstance, Josh Baer Gallery, New York (catalogue) New York Now, The Israel Museum, Jerusalem, Israel (catalogue) 1986 Admired Work, John Weber Gallery, New York Spiritual America, CEPA Galleries, Buffalo, NY (catalogue); travelled to Stavanger Faste Galleri, Stavanger, Norway (curated by Collins & Milazzo) New New York, Cleveland Center for Contemporary Art, OH Signs of Painting, Metro Pictures, New York, and Donald Young Gallery, Chicago Painting and Sculpture Today 1986, Indianapolis Museum of Art, Indianapolis, IN (catalogue) Paravision II, Margo Leavin Gallery, Los Angeles (curated by Collins & Milazzo) Political Geometries: on the Meaning of Alienation, Hunter College Art Gallery, New York (catalogue) Post Pop, Michael Kohn Gallery, Los Angeles Tableaux Abstraits, Villa Arson, Centre National d'Art Contemporain, Nice, France (catalogue) Europa / Amerika, Ludwig Köln Museum, Cologne, Germany (catalogue) End Game: Reference and Simulation in Recent Painting and Sculpture, Institute of Contemporary Art, Boston, MA (curated by David Joselit and Elisabeth Sussman, catalogue) Ashley Bickerton, Peter Halley, Jeff Koons, Meyer Vaisman, Sonnabend Gallery, New York The Hidden Surface, Middendorf Gallery, Washington, DC Geometry Now, Craig Cornelius Gallery, New York Surfboards, Michael Kohn Gallery, Los Angeles Art and Its Double: A New York Perspective (El arte y su doble), Centre Cultural de la Funcacio Caixa de Pensions, Madrid; travelled to Fundación Caja de Pensions, Barcelona (catalogue) Rooted Rhetoric, Castel Dell «Ovo, Naples (catalogue)

Vogel's storytelling continues including paintings which depict New Mexican folklore and myths that have crossed cultures and been told for generations.

A Selection of American Art: Minimalism and After, Galerie Ronny Van de Velde, Antwerp, Belgium (catalogue) The Kitchen Art Benefit, Curt Marcus & Leo Castelli Galleries, New York Re-Framing Cartoons, Loughelton Gallery, New York Grids, Vrej Baghoonian Gallery, New York Modern Detour / Umweg Moderne: R.M. Fischer, Peter Halley, Laurie Simmons, Wiener Secession, Vienna (catalogue) The Last Decade: American Artists of the 80s, Tony Shafrazi Gallery, New York (curated by Collins & Milazzo, catalogue) Weitersehen 1980 — 1990, Krefelder Kunstmuseen, Museum Haus Lange and Museum Haus Esters, Krefeld, Germany (catalogue) Mel Bochner, Peter Halley, Robert Rauschenberg, Sonnabend Gallery, New York Classical Modernism: Six Generations, Sidney Janis Gallery, New York Peter Halley, Annette Lemieux, Meyer Vaisman, Galerie Antoine Candau, Paris Peter Halley, Jeff Koons, Meyer Vaisman, Galerie Carola Moesh, Berlin 1989 Nonrepresentation: The Show of the Essay, Anne Plumb Gallery, New York (catalogue); travelled to Security Pacific Corporation, Los Angeles (curated by Jeremy Gilbert - Rolfe, catalogue) Horn of Plenty, Stedelijk Museum, Amsterdam (catalogue) Buena Vista, John Gibson Gallery, New York (curated by Collins & Milazzo, catalogue) Abstraction in Question, John and Mable Ringling Museum of Art, Sarasota, FL (catalogue); travelled to Center for the Fine Arts, Miami Paula Cooper Gallery, New York A Climate of Site, Galerie Barbara Farber, Amsterdam (curated by Robert Nickas, catalogue) Science — Technology — Abstraction: Art at the End of the Decade, University Art Galleries, Wright State University, Dayton, OH (catalogue) Prospect 89, Frankfurter Kunstverein, Schirn Kunsthalle, Frankfurt am Main (catalogue) Re-Presenting the 80s, Simon Watson Gallery, New York (catalogue) Ten + Ten: Contemporary Soviet and American Painters, Fort Worth Museum of Art, Fort Worth, TX; travelled to San Francisco Museum of Modern Art, San Francisco, CA; Albright - Knox Art Gallery, Buffalo, NY; Milwaukee Art Museum, Milwaukee, WI; Corcoran Gallery of Art, Washington, DC; Artists» Union Hall of the Tretyakov, Krymskaia Embankment, Moscow, USSR; State Picture Gallery of Georgia, Tbilisi, Georgian Soviet Socialist Republic; Central Exhibition Hall, Leningrad, USSR (catalogue) The Silent Baroque, Villa Arenberg, Galerie Thaddaeus Ropac, Salzburg, Austria (catalogue) New Editions, Pace Prints, New York Psychological Abstraction, Deste Foundation for Contemporary Art, Athens (catalogue) Exposition Inaugurale, Fondation Daniel Templon, Musée Temporaire, Fréjus, France (catalogue) Wittgenstein: The Play of the Unsayable, Wiener Secession, Vienna, Austria; travelled to Palais des Beaux - Arts, Brussels (catalogue) Abstraction — Geometry — Painting, Albright - Knox Art Gallery, Buffalo, NY; travelled to Center for the Fine Arts, Miami, FL; Milwaukee Art Museum, Milwaukee, WI; Yale University Art Gallery, New Haven, CT (catalogue) New Work by Gallery Artists: John Baldessari, Bernd and Hilla Becher, Ashley Bickerton, Mel Bochner, Carroll Dunham, Fischli + Weiss, Gilbert & George, Peter Halley, Barry Le Va, Haim Steinbach, Meyer Vaisman, Terry Winters, Robert Yarber, Sonnabend Gallery, New York Gober, Halley, Kessler, Wool: Four Artists from New York, Kunstverein, Munich (catalogue) Projects and Portfolios: The 25th National Print Exhibition, Brooklyn Museum, Brooklyn, NY (catalogue) Recent Acquisitions, Carl Solway Gallery, Cincinnati, OH Buena Vista, John Gibson Gallery, New York

Jones and his contemporaries were in the vanguard of a new generation of artists who vigorously questioned the authority of classical English painting.

Innerst broke onto the New York art scene in the early 1980s with exquisitely executed small - scale paintings with hand - made frames, and his works were considered part of the Pictures Generation of artists who employed widely varied images as source material culled from the expanding media of the pre-digital age.

Legacy in Continuum: Bay Area Figuration honors and celebrates a way of thinking about painting that continues to touch a new generation of artists, both in the Bay Area proper and across the Atlantic.

In a 1965 interview with Art News about the catalogue accompanying LACMA's then - recent show «New York School, First Generation: Paintings of the 1940s and 1950s,» Barnett Newman complained that, «It is impossible to tell from the excerpt quoted from Meyer Schapiro's talk that it was the first defense made abroad of American painting by an American scholar.»

2005 The Last Generation, curated by Max Henry, Apex Art, New York, NY, USA; traveling to Jousse Entreprise, Paris, France Superstars: From Warhol to Madonna, Kunstforum / Kunsthalle Wien, Vienna, Austria The Painted World, P.S. 1 Center for Contemporary Art, Long Island City, New York, USA The Disasters of War: From Goya to Golub, Ezra and Cecile Zilkha Gallery, Wesleyan University, Connecticut, USA Post No Bills, curated by Matthew Higgs, White Columns, New York, USA Helga's Art Collection, Museo Extremeno e Iberoamericano de Arte Contemporaneo, Badajoz, Spain The Art of Aggression: Iraqi Stories and Other Tales, curated by Jean Cruthchfield and Robert Hobbs, Reynolds Gallery, Richmond, Vancouver, Canada 2004 Editions Fawbush: A Selection, Sandra Gehring Gallery, New York, USA Last one on is a soft Jimmy, Paula Cooper Gallery, New York, USA Bill Adams, Wayne Gonzales, Cameron Martin: Paintings, KS Art, New York, NY Word of Mouth, A Selection: Part 1, Dinter Fine Art, New York, USA La Lettre Volée, F.R.A.C. Franche - Comté Musée des Beaux - Arts de Dole, France The Freedom Salon, Deitch Projects, New York, USA Bush League, Roebling Hall, Brooklyn, New York, USA Painting (Wayne Gonzales, Roger Metto, Jason Middlebrook, Cristian Rieloff), Galleri Charlotte Lund, Stockholm, Sweden 2003 Parallax Views: Art and The JFK Assassination (Ant Farm & T.R. Uthco, Wayne Gonzales, Eric M. Jensen), Hallwals Contemporary Arts Center, Buffalo, New York, USA 150 artists make 150 T - Shirts, Daniel Silverstein Gallery, New York, USA Cartoon, Riva Gallery, New York, USA Melvins, Anton Kern Gallery, New York, USA 2002 The Presidential Suite, Nassau County Museum of Art, Roslyn Harbor, New York, USA Gravity Over Time, curated by John Pilson, 1000 Eventi, Milan, Italy From the Observatory, Paula Cooper Gallery, New York, USA Subject Matters, curated by Norman Dubrow, Kravets / Wehby Gallery, New York; Conner Contemporary Art, Washington, USA 2001 How is everything?