Upon close examination, the pearlescent layers of wax and modeling paste reveal the hand of the artist, who was building up the surface to accept his own version of
a new painted language.
Not exact matches
With all that said, the
New Testament
paints a picture of a community where people not only heard from God through scripture, prayer and the sacraments, but also through prophecy, other
languages, and words of wisdom and knowledge.
It
paints a picture of how people entered and spread across the continent, giving birth to
new languages as they went.
This week the approach takes a major step forward with a combined genetic and linguistic study that
paints a picture of how people entered and spread across Australia, giving birth to
new languages as they went.
The Harvard Business Review urges people who wish to stay cognitively fit to engage in challenging activities, such as studying a
new language, learning to
paint or taking lessons on a
new musical instrument.
Learn to do something
new like build a birdhouse, learn a foreign
language, learn to crochet or sew, take
painting classes, or learn a musical instrument.
Hobbies include drawing and
painting, playing bass and guitar, learning
new languages (Currently studying Russian) and sleeping, which she can simply not get enough of.
If you dream of creating your own games and love to build your own stories, «Project Spark» provides a powerful creation engine that unlocks world building through intuitive sculpting tools to shape and
paint a
new world, as well as a simple yet incredibly powerful visual programming
language to make anything happen.
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.
Modern Times: American Art 1910 — 1950 looks at the
new and dynamic visual
language that emerged during this period, and its dramatic impact on
painting, sculpture, printmaking, photography, architecture, and the decorative arts.
Here, Manister's work resonates with a significant aspect of the
New York School, in its understanding of
painting as its own form of
language.
In this
new series of
paintings, he draws on Indian and Western European traditions to create a hybrid visual
language with which to relate intimate tales of sensual and spiritual encounter.
All were moving in a
new direction away from the violence and anxiety of Action
painting toward a
new and seemingly calmer
language of color.
Using the visual
language of mythological depictions of wrestling, mined from art historical sources and his own memory, these
paintings propose
new through lines in Dunham's practice that are both formal and autobiographical in nature.
The exhibition makes the most of Tate St Ives» expansive
new display areas to show a number of Heron's large - scale
paintings, and marks the evolution in his visual
language, aesthetic sensibility and practice.
Thus, again, if the works can't be incorporated or tamed into discourse of gender representation, nor to the terms of the
new critical
language of gender, racial identity, national identity politics, they also can't be reduced to the purely formal terms of the earlier discourse that had characterized
painting from the late 1940s to the 1970s.
A
new exhibition of works on view at Ameringer McEnery Yohe in New York until August 18 deepens his body of work, meditating on experience, memory, and language in a series of 13 new paintin
new exhibition of works on view at Ameringer McEnery Yohe in
New York until August 18 deepens his body of work, meditating on experience, memory, and language in a series of 13 new paintin
New York until August 18 deepens his body of work, meditating on experience, memory, and
language in a series of 13
new paintin
new paintings.
Using a variety of processes that include
painting, sculpture, digital and
new media, installation and sound, the works on view in this exhibition highlight
language itself as a diverse medium to be explored, dissected and reframed to reflect the nuances of communication in the 21st century.
Spurred on by a 1960's enamel on paper drawing by sculptor David Smith (1906 - 1965), Wendy White presented a
new painting featuring multiple canvases with spray -
painted gestures and hints of
language.
With his return to
painting, Dubuffet adopted an energetic
new language to approach everyday subject matter.
For many artists in the exhibition, the radical
language of modernist
painting developed during the early twentieth century - of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life - continues to evolve as distortions and mutations of the image take on
new permutations with each technological advance.
Moving on from burlap,
paint and tattered fabric, in Ferro T's twisted, cut, soldered, nailed, burnt and shorn metal Burri carved out a powerful
new artistic
language.
Taking up the iconography and subject matter inherent to Western culture and making use of crude
painting techniques blended with the vandalistic
language of graffiti, Lister appropriates and reformats codes and
languages in order to create a
new proposal of grotesque contours brimming with creative energy.
March saw his landmark debut with Nosei: Jeffrey Deitch praised his «ability to merge his absorption of imagery from the streets, the newspapers and TV with the spiritualism of his Haitian heritage, injecting both into a marvellously intuitive understanding of the
language of modern
painting» (J. Deitch, quoted in Jean - Michel Basquiat, Tony Shafrazi Gallery,
New York, 1999, p. 326).
The exhibition will also feature a selection of
new paintings and sculptures in the adjacent gallery, which continue Lin's exploration of «body
language.»
It is the middle period in Schnabel's exploration in material found, imagery and
language, and experiments in inventing a
new kind of
painting.
Marsh, who began her career in the early 1970s in Paris and
New York, arrived at landscape
painting through the prevailing
language of minimalist abstraction.
Dark, ominous forms began to crowd his
paintings, coalescing into what would become a
new language that consumed his practice over the next ten years.
In Twisted Figures, his third solo show at 532 Gallery Thomas Jaeckel, Hughes's latest series of acrylic
paintings pushes this
language into a
new phase in which the shapes on the canvases continue to self - confidently assert their own presence, yet begin to move beyond an earlier, more matter - of - fact reliance on organic and visceral associations.
In their capacity to evoke both the natural and supernatural, whilst synthesizing multiple artistic
languages, the Face
Paintings return the medium to a kind of ground zero, allowing Grotjahn to explore
new possibilities both for
painting and for one of its most time - honored subjects: the human face.
Thai born,
New York based Udomsak Krisanamis» richly textured collaged
paintings reflect his highly personalised approach to
language.
Each work is representative of a unique, formal
language, rooted in
paintings» extensive history while also looking towards
new possibilities and interpretations for the medium in the twenty - first century.
He refers to the past perhaps in a subversive manner and incorporates a
new and invigorating
language into
painting and sculpture.
It is our ambition to stress the timelessness of the abstract
language in
painting and to create a platform, which allows older works to appear in a
new light and contemporary compositions to be viewed in the context of their influences.
Although TPG members were committed to a shared set of philosophical concepts and ideals, each artist developed his or her own artistic
language and sought a unique path «to carry
painting beyond the appearance of the physical world, through
new concepts of space, color, light, and design.»
The Korean Cultural Center Washington, D.C. is proud to present Scent of Ancient and the Modern, a
new exhibition highlighting the ancient heritage and contemporary artistry of the Korean written
language, Hangeul, through striking works combining calligraphy, ink
painting, and poetry, on display October 8 â $ «31.
Although TPG members were committed to philosophical concepts and ideals, each artist developed his or her own artistic
language and sought «to carry
painting beyond the appearance of the physical world, through
new concepts of space, color, light and design.»
By the late nineteenth century native - born artists were adopting landscape
painting as the
language of the
new republics, forging a
new sense of national identity.
Suffused with the play of color, light, and space, this
new body of work uses the
language of romantic landscape
painting as it shifts between zones of abstraction and narrative.
Influenced by the history of
painting, especially Abstract Expressionism, Hancock transforms traditionally formal decisions — such as the use of color,
language, and pattern — into opportunities to create
new characters, develop sub-plots, and convey symbolic meaning.
Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract
painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting as the dominant style of
painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded
Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative
Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal
language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-
Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual
painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How
painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-
Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting Part II: After Pop A
new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuym
new era in which figurative and abstract exist side by side rather than polar opposites plus
painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8:
New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuym
New Figures, Pop Romantics Post-cold war, artists use
paint to create a
new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuym
new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans
When he returned to
New York in the 1950s, much of the work Kelly made, at first, as he found his way more fully into his own
language, was in the form not of
paintings but of drawings — works on paper in ink, pencil and gouache, which he created as a way of working out where he wanted to go on a larger scale.
In a time when
new techniques were dominating and when painters and
painting, in general, were considered quaintly anachronistic, he forged a
new painterly
language: an ironic mix of Romanticism and post-impressionism to create haunting landscape vistas.
Abstract Expressionism changed the terms of
painting, and in doing so, created its own kind of intellectual capital, in which Pollock's splotches of color became a
new language that was necessary to understand in order to be considered visually literate.
For many artists in the exhibition, the radical
language of modernist
painting developed during the early twentieth century — of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life — continues to evolve as distortions and mutations of the image take on
new permutations with each technological advance.
Thomas Nozkowski (b. 1944, Teaneck,
New Jersey) is recognized for his richly colored and intimately scaled abstract
paintings and drawings that push the limits of visual
language.
During the late 1960s, Guston became frustrated with the limitations of abstraction and returned to figurative
painting, amassing a potent
language of motifs whose roots can be seen in the forms and shapes of Traveler III, and illustrating what Christoph Schreier refers to as subcutaneous figuration.2 Following his 1966 exhibition at the Jewish Museum in
New York, Guston relocated to Woodstock,
New York, embarking on what would become a two - year hiatus from
painting.
The
new body of work represents a shift in his practice, away from intimate projections characteristic to Olivier, in favour of larger scale works closer to the
language of
painting than that of animation.
He did not invent a
new language as Picasso, Matisse and Mondrian did, but he renewed traditional genres through his excruciatingly sensuous, desperately urgent immersion in the process of
painting.
KH: There are three
new sculptures and four new paintings and a sound piece, which further explore the theme of language and urban construction that was initiated at my exhibition at Gavin Brown in New York in the spri
new sculptures and four
new paintings and a sound piece, which further explore the theme of language and urban construction that was initiated at my exhibition at Gavin Brown in New York in the spri
new paintings and a sound piece, which further explore the theme of
language and urban construction that was initiated at my exhibition at Gavin Brown in
New York in the spri
New York in the spring.