Sentences with phrase «of abstract artists when»

Not exact matches

When researching theories of how the first abstract artists were spiritualists, Maureen browses articles, with the screen being filled with that of her Mac.

When he landed in New York, in 1976, Little was taken under the wing of the older artist Al Loving, who drew him into the circle of such black abstract artists as William T. Williams, Jack Whitten, Mel Edwards, Fred Eversley, and Bill Hutson.

Princeton, NJ — A remarkable gathering of paintings by some of the most important artists of the postwar era will provide a window into a moment of extraordinary creative ferment, when the very nature of abstract painting was being hotly contested.

When Rosenberg arrived in America in 1940, he brought a cache of great works by important European artists, many of whom provided Avery with a new understanding of abstract representation.

And against fashion: she remained a figurative artist when the rest of the New York art establishment was in the grip of abstract expressionism.

With almost 40 works, this exhibition proposes a complete view of the artist's aesthetic development, starting with his figurative works, when he exhibited in Barcelona in the early 30's, until his latest abstract paintings of the 90's after going through the abstract expressionist stage that became so relevant in the United States during the 40s and 50s.

Tate Modern's new exhibition, Henri Matisse: The Cut - outs, opens tomorrow, and it's already been hailed as the exhibition of the year — a colourful, life - affirming show of the artist's bold, abstract collage works, which he created when health problems prevented him from painting.

When dealing with an artist as subtle as Arturo Herrera, the manner of interpretation is by nature complex, further complicated by what at first seems like wildly varied and distinct bodies of work, each adopting the formal affectations of the medium at hand: architectural interventions, collage, abstract paintings, biomorphic abstractions, hybrid paintings, photography, sculpture, mail art.

JMcK: The teaching of drawing has occupied an important place in your career as an artist specifically teaching life drawing at a time when abstract art and conceptual forms of art were in the ascendancy.

I was reminded of one of my favorite abstract painters, the Californian John McLaughlin, who was born in 1898 and whose career as an artist also began when he was 50.

Coming of age as an artist during the 1960s, on the heels of abstract expressionism during a period when the art - world was dominated by men, she succeeded in expressing her unique artistic vision and voice and continues to do so to this day.

They came from the halcyon days of New York art — the days when abstract expressionist artists, who were mostly poor and unknown for much of their lives, were just emerging from obscurity, and the then avant - garde - inclined MOMA was busily buying their art straight from their exhibitions.

And when, finally, in 1936, the Museum of Modern Art did offer its public an exhibition of cubist and abstract art, only European artists were included.

Situating her abstract works from the late»60s historically also emphasizes the context for what came next, when, nearing the age of 50, somewhere between being an «established» and a «veteran» artist, she risked everything by taking off the armor of modernism and assuming the contingent mantle of femininity.

He is part of a generation of artists who gained prominence when abstract expressionism's specter remained strong; several of its leading figures — like Still, De Kooning, and Motherwell — were alive and making important work.

«When, finally, in 1936, the Museum of Modern Art did offer its public an exhibition of cubist and abstract art, only European artists were included.

It even showed abstract artists such as Richard Tuttle when they had gone out of fashion.

Shaw's dedication to abstraction coincided with the ascendancy of social realism in the United States, when American artists working in abstract forms were sometimes disregarded as slavish imitators of European painting.

'» At a time when abstraction remained on the fringes of the art world, the group aimed to «foster public appreciation of [abstract] painting and sculpture,» and grant «each artist an opportunity for developing his own work by becoming familiar with the efforts of others.»

The signature of the artist, traditionally the valued hallmark of authority and provenance, recurs throughout «Who What When Where How and Why», emerging from the canvases of Turk's Pollock paintings; the abstract expressionist artist's paint splatters exchanged for innumerable «Gavin Turk» signatures.

It was one of the rare figurations when the artist produced mostly abstract work.

When British artists saw the first London exhibitions of American abstract painters such as Jackson Pollock and Mark Rothko in the late Fifties, they were astonished by the improvisatory freedom of their works, in which paint appeared to have been hurled on to the canvas without any preconceived ideas, and by the sheer size of the paintings.

The market for Lucio Fontana, the prolific Argentine artist who spent the most important part of his career in Italy, peaked last year during the October Italian sales when 26 works were offered and 21 sold for a combined total of # 36.6 m. With a large body of work — the slashes — that is both easily recognizable and was created in a seemingly endless variation of color and slashes, Fontana looked to be riding a wave of interest in Italian abstract artists to become a market - driving figure, a bellwether of the global Contemporary art market.

The exhibition, «I speak now from the aesthetic and artistic point of view when I say that life with Michelle Grabner is dull» brings together the work of four antithetical painters who Michelle Grabner, the Chicago - based artist, heralds as profoundly enabling to her own unvaried and unimaginative abstract investigations.

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.

When abstract art burst onto the stage in the Western art world in the early 20th century, its practitioners quickly resolved themselves into two distinct camps: the gestural abstractionists, who built upon the liberatingly loose compositions of Post-Impressionists like Cezanne to create non-objective paintings emphasizing the artist's hand, and the geometric abstractionists, who seized on the it - is - what - it - is essentialism of Euclidean geometric shapes.

Tate Modern's Henri Matisse: The Cut - outs, has already been hailed as one of the exhibitions of the year — a vibrant, life - affirming show of the French artist's abstract collages, which he created when health problems prevented him from painting.

Also seen the same day, down the block from Pace Gallery, in the show at Lennon - Weinberg Gallery, «H.C. Westermann: The Human Condition, Selected Works, 1961 - 1973,» some early drawings by H.C Westermann (1922 - 1981), done (as I overheard the gallerist explaining) when the artist was in the hospital being treated for testicular cancer — which he survived: his wife had brought him some crayons and paper, and he worked on a group of small drawings, some in the artist's characteristic graphic, cartoon - related style, some in a more abstract and less over-determined mode — after he recovered, these were packed away and never shown until now.

But the artist and critic Brian O'Doherty did something of the sort in the 1970s, when he wrote of how far both the creation and canonisation of modern art had been informed by the dominant «white cube» model of gallery space, which had conferred a monumental aura on much large - scale abstract painting.

As an internationally recognized artist whose work spanned five decades, Allan D'Arcangelo began painting at a pivotal moment when artists, critics, and dealers were challenging the dominance of abstract expressionism and other modernist doctrines and hotly contesting new criteria in defining the creation and interpretation of art in society.

They've played an important role in Houston's art history, as when the black artist Peter Bradley, at the invitation of Dominique and John de Menil, curated The De Luxe Show, an integrated show of abstract painters, at a Fifth Ward movie theater in 1971.

Leonardo predicted the difficulties that would confront artists five centuries later when they tried to produce purely abstract paintings which are always in danger of becoming aesthetic Rohrschach blots on to which viewers project their own figurative fantasies.

When the London - based artist's giant abstract paintings got held up in transport, leaving the gallery with little to display for the first two days of the fair, Syed staged a performance modeled after John Lennon's and Yoko Ono's 1969 bed - in in Montreal.

1 When Swiss - born artist Rudolf de Crignis (1948 — 2006) first visited Manhattan in the late 1970s, he was deeply affected by Minimalism, particularly the powerfully spare abstract paintings of Agnes Martin, Robert Ryman, Brice Marden, and Ad Reinhardt.

This exhibition proposes a new reading, emphasizing that the achievements of her training in the field of abstract painting did not disappear when her work turned to textiles, and that the artist addressed pictorial abstraction in a unique way, manifesting itself very quickly through an openness to spatial concerns.

He curated an exhibition for the Arts Council at the Hayward Gallery in 1976, entitled «The Human Clay» (an allusion to a line by W. H. Auden), including works by 48 London artists, such as William Roberts, Richard Carline, Colin Self and Maggi Hambling, championing the cause of figurative art at a time when abstract was dominant.

Curated by Pat Swanson, Another Story examines the range of conceptual, abstract, and figurative approaches that artists use when the book or its surrogate is at the heart of their investigations.

By the time Twombly died in 2011, he had become a figure of unique mystery and authority in modern art — an American who chose to live in Italy, an abstract artist fascinated by myth and history, a man who never spoke to the press, and when all is said and done, the most intelligent and emotionally eloquent artist of our age.

Modernism had its seekers of the «perfect moment,» and many abstract and figurative artists alike still know when to capture the light.

I was an abstract painter when I left Yale, and I was really aware, partially because minimalist artists had helped me articulate this, how standing in front of a painting or sculpture felt different depending on whether it's symmetrical or asymmetrical, if it towers over you, or it's smaller than your head how all of those things affect bodily feeling.

The American Abstract Artists group was established in 1936 as a forum for discussion and debate of abstract art and to provide exhibition opportunities when few other possibilities existed.

Nathlie Provosty is an emerging American visual artist known for her masterfully executed abstract works that can appear aesthetically simple when viewed from a distance, but become more complex upon closer inspection despite the apparent reductivism of her monochromatic color palette.

Think abstract artists and beatniks in downtown Manhattan, Peggy Guggenheim and her new gallery Art of this Century, cocktail parties on the Upper East Side, Pollock's drip paintings, jazz, beat poetry, dancing the jitterbug and sipping Martinis at the Savoy as we celebrate the era when New York overtook Paris as the capital of the art world.

Being in a room full of Philip Guston's paintings is like time traveling — back to both the artist's own era in which the work was made, and to my first attempts to make abstract work, when I was in my early twenties.

Whistler, whose work opened the doors to abstract painting, was also the first artist to use the exhibition space as an additional means of artistic expression as well as to intentionally act so to arise attention on his work such as in 1883, when he used art critics» harsh comments on his work as captions for etchings at an exhibition.

They were so fresh and inventive, yet from their complexity and the assurance of the vocabulary — loose geometry, gridlike formations, unnamable shapes, and squiggly lines — I knew at once that this was the work of a confident and mature artist, even though it fit into the context of what many younger painters were engaged in at the time, when abstract painting had returned to issues of eccentric composition and irregular forms realized through diverse approaches of painting styles.

«It is not clear when the essentially formalist notion of inner light became a commonplace in the criticism of Venetian painting of the sixteenth century, but it was certainly a major concern of the Bavarian painter Max Doerner, whose handbook The Materials of the Artist and Their use in Painting, with notes on the Techniques of the Old Masters (1921), had been published in an English translation in New York in 1934 and came to be much used in the circle of the abstract expressionists.

Next week, when V.I.P.s and special guests shuffle through Christie's new West Galleries, in Rockefeller Center, they will alight on a series of abstract paintings by a group of relatively unknown artists.

Exhibition invitation April 23 — May 22, 2010 Participating Artists: Michelle Grabner, Katharina Grosse, Brad Killam, Philip Vanderhyden & Molly Zuckerman - Hartung The exhibition, «I speak now from the aesthetic and artistic point of view when I say that life with Michelle Grabner is dull» brings together the work of four antithetical painters who Michelle Grabner, the Chicago - based artist, heralds as profoundly enabling to her own unvaried and unimaginative abstract investigations.

At a time when increasing attention is being paid to female artists, the David Zwirner gallery has taken on representation of the abstract painter Joan Mitchell, who died in 1992.