Not exact matches
Mitchell met de Kooning
early on — inspired by his
painting, she sought out an introduction — and was a rare female participant in artistic debates at the
notorious Cedar Tavern.
This exhibition of nearly 140 works — including the
notorious rock
paintings; the «Bloody Head» series, 1973 — 2011; and numerous rarely seen
early drawings — and its accompanying catalogue will explore that beautiful paradox.
By the late forties and
early fifties, de Kooning and his New York contemporaries, including Jackson Pollock, Franz Kline, Robert Motherwell, Adolph Gottlieb, Ad Reinhardt, Barnett Newman and Mark Rothko, became
notorious for rejecting the accepted stylistic norms such as Regionalism, Surrealism and Cubism by dissolving the relationship between foreground and background and using
paint to create emotive, abstract gestures.
In the first of the two extended conversations that comprise How I Became a Painter, Winkfield (born 1944) reminisces about his student days in Leeds and London in the 1960s, and his
early activities as an artist, writer, editor and translator; the second conversation focuses on Winkfield's life after he moved to New York City in 1969, including his decisive return to
painting (prompted by the
notorious survey of Richard Tuttle's work at the Whitney Museum of American Art in 1975) and his various collaborations with poets of the New York School.
Leading off with
early paintings, the Serpentine will feature Metzger's notable metaphors for our ineluctable journey on the Oblivion Express — his
notorious «auto - destructive» pieces (disintegrating sculptures, acid - splashed canvases) begun in the late»50s — in addition to his presciently eco-minded critiques of consumerist excess via accumulations of used materials.