Sentences with phrase «nonobjective painting»

Over the past ten years, she has also curated several critically - acclaimed artist retrospectives and surveys of abstract painting at Hunter College, including Visual Sensations: Robert Swain Paintings, 1967 - 2010; Presentational Painting III; Seeing Red: An International Exhibition of Nonobjective Painting (co-curated with Michael Fehr); Set in Steel: The Sculpture of Antoni Milkowski; and Mac Wells: Light into Being (co-curated with Robert Swain).

The third Calder Gallery at Fondation Beyeler has its focus on Alexander Calder's first nonobjective paintings in dialogue with his...

The exhibition traces the evolution of Michael Goldberg's work from the early cubist inspired drawings of the 1940s to the monumental nonobjective paintings of the early Read More»

The third Calder Gallery at Fondation Beyeler has its focus on Alexander Calder's first nonobjective paintings in dialogue with his sculptures from the 1930s.

This desire to explore the empirical through nonobjective painting is what makes Fishman an important forerunner of much of the painting we see today.»

Af Klint had begun producing nonobjective paintings by 1906, significantly before Vasily Kandinsky, Kazimir Malevich, Piet Mondrian, and others widely considered trailblazers of the movement to free artwork of representational content.

His experiments with abstraction do not result in strictly nonobjective paintings, but the delightful liberties he takes with background, scale, and color, as well as his propensity to distort figures and juxtapose spaces, help move the compositions ever so slightly away from nature.

Hilla Rebay — artist, art advisor, and the museum's first director — promoted nonobjective painting above all other forms of abstraction.

The longer it stays around, the more nonobjective painting will have to say to everything that came before.

This summer Sheldon celebrates nonobjective painting with an exhibition drawn from the museum's permanent collection.

Most well - known nonobjective painting fits into a tragic mode.

In addition to her painting practice, Evertz has also curated several major exhibitions over the past ten years at Hunter College, including Visual Sensations: Robert Swain Paintings, 1967 - 2010; Presentational Painting III; and Seeing Red: An International Exhibition of Nonobjective Painting.

The exhibition traces the evolution of Michael Goldberg's work from the early cubist inspired drawings of the 1940s to the monumental nonobjective paintings of the early 1960s and the abstracted landscapes and still - lifes of the mid - to late «60s, the monochromatic paintings of the 1970s and ending with his use of grids in the 1980s.

But he wasn't happy until he flipped the canvas 90 degrees: «I found that rotating it took all the landscape out, so it became a nonobjective painting.

Mondrian's signature artistic innovation was his geometric, nonobjective painting, characterized by a white ground, a black grid, and red, yellow, and blue rectangular forms.

Here I found a Korean counterpart, or perhaps an extension, of issues in nonobjective painting that emanated over a historical continuum, from Seoul to New York and from New York to Seoul over the course of decades.

She also began exhibiting at Peggy Guggenheim's Art of this Century Gallery and at the Museum of Nonobjective Painting (now, Solomon R. Guggenheim Museum, New York), then under the directorship of Hilla Rebay.

Yet by 1935, just as the New York artists began to seek a regionalist identity for their modernism, Jonson moved toward visually intangible subjects in nonobjective paintings, free of any obvious reference to the natural world.

Uptown, in a space so small that one can easily turn one's back on it, a dozen works trace «Pioneers of Nonobjective Painting.»

The most important exhibitions include, in 2003, participations at the Mies van der Rohe - Haus, Berlin and Seeing Red: An International Exhibition of Nonobjective Painting, at the Hunter College / Times Square Gallery in New York City.

She gained recognition after World War II, when she received a grant from the Solomon R. Guggenheim Foundation and showed at both Peggy Guggenheim's Art of This Century Gallery and the Museum of Nonobjective Painting (now the Guggenheim Museum).

Malevich and his followers conceived of art as a spiritual activity whose purpose was to give man a new vision of the world; their nonobjective paintings were intended to free man from the shackles of natural forms.

Over the past ten years, Evertz has also curated several critically - acclaimed artist retrospectives and surveys of abstract painting at Hunter College, including Visual Sensations: Robert Swain Paintings, 1967 - 2010; Presentational Painting III; Seeing Red: An International Exhibition of Nonobjective Painting (co-curated with Michael Fehr); Set in Steel: The Sculpture of Antoni Milkowski; and Mac Wells: Light into Being (co-curated with Robert Swain).