Sentences with phrase «of abstract artists called»

Along with Pietro Consagra, Achille Perilli, and Giulio Turcato, in 1947 he helped formulating a manifesto and establish a group of abstract artists called Forma I. Although imbued with socialist leanings, the group did not follow the realist social commentary furthered by Guttuso but proposed to reclaim abstraction from the Futurism movement.

Not exact matches

Artist Antonius Roberts» newest project is called Sacred Space which is a series of abstract sculptures of the human body made from trees at Clifton Pier that were uprooted from Hurricane Matthew.

Savarino calls himself a modern abstract artist who works with «lots of texture and color» and whose style dictates the kinds of questions he asks potential customers.

He believed in a philosophy of art he called Art - as - Art and used his writing and satirical cartoons to advocate for abstract art and against what he described as «the disreputable practices of artists - as - artists».

In this packed, compulsive show, the much - exhibited artist continues to employ what he calls «visual algorithms» to manufacture pattern after abstract pattern, allowing predetermined formal rules to steer the direction and determine the conclusion of any given project.

From Norman Lewis to Joe Overstreet, the Harlem Renaissance — derived tradition of African - American abstract painting (which has historically had a primarily black audience) is intermingled with the tradition of so - called self - taught or outsider artists such as Bill Traylor and Bessie Harvey (whose audience has been mostly in the rural south and mostly black); the more recent wave of African - American conceptualism represented by Adrian Piper, Lorna Simpson, and others (whose work

In whole, the installation examines what the artist calls certain abstract forms and the symbolic order of white supremacy.

The resulting forms — whether they are 3D ceramic heads, 3D abstractions, plexi «enclosures» or resin «encapsulations» — investigate the subtle politics of mass production, authenticity, metamorphosis, and what the artist calls «abstract ancestries.»

GUTS (yellow / gold)(all works 2007), for example, her contribution to «Late Liberties» at John Connelly Presents, is a vivid and uncompromising canvas that confronted viewers with a seemingly metaphorical treatment of the titular word, ensuring that they would be hard - pressed to disagree with curator Augusto Arbizo's claim that «for a young artist to be making work at this moment in what could be called an abstract or nonrepre - sentational manner... is... a highly personal and political act.»

However, the image's conceptual origins go back to the beginning of his career as an artist, with an abstract sculpture that he called the Rhythms of Life, a theme that has obsessed him ever since.

People have called painting dead so often that abstract artists have every reason to flee the studio in fear of the living dead.

During artist Vadis Turner's residency at Materials for the Arts, she created an entirely new body of work called Storm Systems, an exhibition of abstract paintings made from ribbon and fabric.

Helen Harrison, Eugene V. & Clare E. Thaw Director of the Pollock - Krasner House and Study Center, also discusses «the emotional journey... the calling» that abstract expressionist artists experienced.

It's tempting to call the explosion of large and exceptional abstract paintings by women artists a vogue, but it's becoming apparent that it's more than that — it has the makings of an art - historical phenomenon.

In this installment of our interview focused on non-objective abstraction, a visual language chosen by Alma Thomas, Beauford Delaney, Charles, Alston, Sam Gilliam, Harold Cousins and other African American abstract artists of the so - called «first generation.»

MR: The market was very active with historic African American artists including the Abstract Expressionists, if we want to call it, the first generation of African American abstract artists.

MR: Of this group of abstract artists, there certainly has been a slow, steady, if you want to call it, snowballing growth of interest and market in Alma Thomas, Beauford Delaney and Norman LewiOf this group of abstract artists, there certainly has been a slow, steady, if you want to call it, snowballing growth of interest and market in Alma Thomas, Beauford Delaney and Norman Lewiof abstract artists, there certainly has been a slow, steady, if you want to call it, snowballing growth of interest and market in Alma Thomas, Beauford Delaney and Norman Lewiof interest and market in Alma Thomas, Beauford Delaney and Norman Lewis.

The Abstract Expressionists, sometimes called the New York School, were never a formal association, but they shared a desire to break away from conventional subjects and techniques and, significantly, to produce a completely abstract art that reflected in dynamic, gestural form the unique personality, psyche and emotions of the artist.

When Tom Wolfe called his polemic on modern art The Painted Word, he was thinking not of artists» books, but of post-1945 abstract expressionism and its enshrinement of theory and text.

A large abstract pastel drawing of furious energy called «Twin Tornadoes» by the late Gilda Snowden, a beloved African - American artist from Detroit, hangs on the wall in Salort - Pons» office.

Alexandra Luke organized the touring Canadian Abstract Exhibition in 1952 and in 1953 Ronald initiated an exhibition at Simpsons department store called «Abstracts at Home,» including his work and that of six other artists, Kazuo Nakamura, Luke, Bush, Cahén, Ray Mead and Tom Hodgson.

The artists of the AAA tended to focus on the formal qualities of abstract art and those of the TPG were more inclined toward nature and the spiritual, thus calling themselves the Transcendentalists.

In October, the Portland Art Museum announced plans for its largest expansion since 2005: a $ 50 million project called the Rothko Pavilion in honor of late abstract expressionist painter Mark Rothko, who grew up in Portland and is one of the most significant American artists of the past 75 years.

Known in this country largely through her recent retrospective at the Met Breuer, Mohamedi, who the Met called «one of the most important artists to emerge in post-independence India,» made delicate, abstract drawings that experiment with intersecting lines, grids, and planes.

Golden calls her show «post-black art,» and she has a museum that can even present black abstract artists, a black artist collective of the 1960s, or black conceptual art as a lost tradition.

Following a fiercely guarded sense of individuality, the exhibition presents a selection that is domestic, functional, private, abstract, descriptive, discursive and decorative — intending to show that there is no single standard for what we consider a «woman» artist and in doing so, calling into question its own premise of staging an all - women show in 2017.

Taking as her professional name her parents» first names, Edith was a prolific artist working first as an abstract expressionist then turning in the 1980s to figurative, political work consisting of drawings, paintings, and embroideries which she called «Daily Rage».

But artists are sometimes their own worst advocates, and Rothko's remarks seem to have become more portentous and bellicose as other artists overtook the first alumni of the New York school, the so - called abstract expressionists.

At the Bill Hodges Gallery, one of the artists in the «History» show is Norman Lewis, often called «the first African American abstract expressionist».

After doing those abstract works the first figurative painting I did was called A Portrait of the Artist as a Shadow of His Former Self.

One of the most famous living abstract artists, James Siena is best known for the intricate geometric abstractions that he creates freehand by imposing upon himself a set of «rules» that he calls «visual algorithms.»

By appropriating the Surrealist technique of automatism, artists such as Peter Busa, Arthur Dove, Gerome Kamrowski, and Boris Margo found their voices in what Theodoros Stamos called, «abstract surrealism,» now known as organic abstraction.

Halasz writes: «this show has a number of paintings that yank the artist out of his stately cubo - surrealist orbit of the 40s and situate him far more certainly in the tempestuous ensuing decade... they situate their creator far more persuasively in the turbulent 50s and justify his claim to be called an outstanding member — if not of the first, certainly of the second abstract expressionist generation.»

BURGOYNE DILLER: After all, your so - called big institutions that were supposed to have done so much for the artists, you know, in the past, the Museum of Modern Art, and so on — I don't think they had a prohibition against showing American abstract painters, but they didn't show them.

«Caribbean Calling» is a light, airy and bright abstract expressionist painting on canvas by one of Chairish's top selling artists, Trixie Pitts.

The exhibition Life Itself stretches from the early 20th century, when artists in and alongside the abstract avant - garde were endeavouring to categorise existence, and up until today's world of objects existing in a state somewhere in between what we call the living and the non-living.

SUSAN MYRLAND: I have several favorites Mike Kelly favorite, he will be hetero topia and also in a show called Fresh Bred which is spelled BRED, opening Going down Saturday night in La Jolla and fresh Bred is a group exhibit of the next generation of artists working conceptual light and space abstract Expressionism and performance art.

Originally referring to the ecstatic verses created by ancient Greek followers of Dionysus, the term, for him, stands for what the wall texts call «the primacy of the artist's expressive power over the subject» — that is, the nominal subject that triggered the improvisatory process of picture - making loses its original meaning by being translated into this new state of being, since any painting is both abstract and a fiction.

She has described the genesis of the title of this work, saying, «When I had finished Evoë and was thinking about its title I toyed with the idea of calling it «Bacchanal without Nymphs»... But then I remembered, just in time, that I am after all supposed to be an abstract artist» (quoted in Kudielka, «Supposed to be Abstract», p. 26).

Morley depicts details: each calibrated digital image as a whole is fragmented into a grid of small squares or «cells» as the artist calls them, from which Morley paints one discrete component at a time, turning the canvas upside down and sideways so that the abstract shape and color tonality of each part is addressed.

The words «abstract expressionism» bring to mind the paintings of Jackson Pollock, Mark Rothko, and Franz Kline, but a new show at the Denver Art Museum hopes call greater attention to the women of the period, including artists Mary Abbott, Grace Hartigan, Ethel Schwabacher, and Joan Mitchell.

Her pure abstract paintings call to mind the stained canvases of the Color Field artists, but her work embodies a unique elegance that differentiates it from that of her contemporaries.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paartists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paArtists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paartists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

This comprehensive exhibition, the first full - career survey of the artist's work, brings together more than 130 paintings made between 1949 and the mid-1990s, from the voracious experimentation of Hantaï's early years in Paris through the justly renowned abstract canvases he began producing in 1960 in the medium he called pliage, or «folding.»

Later called The New York School, abstract expressionism involved a variety of artistic techniques and characteristics, where artists were primarily interconnected by a desire to convey intense interior emotion through abstraction.

Putting aside what might arguably be called the novelty artists — a whole swath of modernist fashionistas labeled pop, op, conceptual, installations, etc., and with these I'd also include the abstract expressionists and action painters of yesteryear, funded by post-World War II corporate America — Herman Rose is up there with the major painters of the realist tradition, figures like Ryder, Bellows, Hopper, Soyer and Alice Neel.

CAM Raleigh presents five of these signature works — all abstract — in which the artist layers oil paint onto a plate - glass or Plexiglas support before scraping off the accumulating «skins,» as he calls them, and collaging them onto a canvas, letting the thickened medium ripple, sag, and wrinkle, marvelously, across the cotton surface.

As an artist critically aware of her role in the art world as an African - American woman, Jones calls upon her training and her identity to construct a revisionist history, one which acknowledges abstract work by black artists left out of art history's Modernist canon.

There is on the Internet a video of abstract artist John McLean called «Stolen Moments».

There are perhaps some common abstract principles that connect a range of abstract artists such as Ad Reinhardt, Camille Graeser, Simon Hantai, Agnes Martin and Norwegian artist Anna - Eva Bergman, who I would say have a shared connection in what I would call the «transformative surface».