Sentences with phrase «of abstract artists whose»

The exhibition investigates a variety of abstract artists whose work embodies the feminist perspective in late twentieth - century modernism.

The exhibition investigates a variety of abstract artists whose work embodies the feminist perspective in late twentieth - century...

Not exact matches

Painted in 1939, just before the outbreak of World War II, it then represented a new line for Picasso, whose abstract techniques have done more to influence 20th century painting than that of any other artist.

Dan Coombs responds to the exhibition Matter at APT Gallery, London, a show of artists whose works «display abstract qualities, have a strong material presence and use their own materiality as subject.»

The signature style of abstract artist Polly Norman, whose Prehistoric Ride Through a Lavender Sky is our Work of the Week, combines both those media to yield a dreamy, kinetic feel.

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.

In curating this exhibition, Liu Wei and Bowen Li have selected the work of seven young artists, all born in Mainland China, whose practices range from performance to abstract sculpture.

Helen Frankenthaler, the lyrically abstract painter whose technique of staining pigment into raw canvas helped shape an influential art movement in the mid-20th century and who became one of the most admired artists of her generation, died on Tuesday at her home in Darien, Conn..

The swirling forms of this edition are based on the landscape designs of Burle Marx, the influential 1960s Brazilian landscape artist whose ideas were abstracted from the forms and colours found in nature.

During the early to mid-1960s Color Field painting was the term for the work of artists like Anne Truitt, John McLaughlin, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Friedel Dzubas, Jack Bush, Howard Mehring, Gene Davis, Mary Pinchot Meyer, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Robert Goodnough, Ray Parker, Al Held, Emerson Woelffer, David Simpson, and others whose works were formerly related to second generation abstract expressionism; and also to younger artists like Larry Poons, Ronald Davis, Larry Zox, John Hoyland, Walter Darby Bannard and Frank Stella.

But many more were inspired by the strife of the 1960s, including black artists whose work is primarily conceptual or abstract, and white artists with mainstream popularity.

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

While she describes herself as a painter and has won international recognition for her abstract canvases embroidered with erotic motifs, Ghada Amer is a multimedia artist whose entire body of work is infused with the same ideological and aesthetic concerns.

To explore this question, Matter & Light is hosting a broad - ranging group show of established and emerging artists whose spiritual concerns have motivated them to work in an abstract vein.»

The original common use refers to the tendency attributed to paintings in Europe during the post-1945 period and as a way of describing several artists (mostly in France) with painters like Wols, Gérard Schneider and Hans Hartung from Germany or Georges Mathieu, etc., whose works related to characteristics of contemporary American abstract expressionism.

Through the Mint Museum's collection you can trace the evolution of this genre from the work of the Hudson River School painters such as Thomas Cole and Sanford Gifford, who focused on the natural beauty of our country's topography, through the rise of Impressionism: a movement whose artists celebrated a more abstract, subjective view of their surroundings.

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.

That abstract art is back in full force was confirmed by the inclusion of Michelle Grabner — as artist — as well as four artists whose work she had selected — as curator — for the current Whitney Biennial.

Bearden was an African - American artist whose career in New York spanned a tumultuous and exciting mid-century moment that saw the emergence of the abstract expressionism movement.

New Eyes For New Spaces, an exhibition curated by recent CCS Bard alumnae Jess Wilcox and Francesca Sonara, is a timely dialogue between five artists whose works investigate abstract and fragmented representations of place in the age of digital technologies.

It seems to me the list of influences on these artists needs to include the likes of Kant (abstract schema) in the search for the «concrete,» whose forms occur in nature (biology) but also in art (disclosed reality).

This exhibition features five artists whose recurring, yet widely divergent, use of circular shapes, dots, droplets and spots are technical and aesthetic tools used for the exploration into objects, places, popular culture, abstract forms and the self.

Harris's fascination with Pollock matched his physical similarity, and his devotion assured a work of singular integrity, honoring the artist's achievement in abstract expressionism while acknowledging that Pollock was a tormented, manic - depressive alcoholic whose death at 44 (in a possibly suicidal car crash) also claimed the life of an innocent woman.

The overlapping of realism and abstraction is nowhere as pungent as in the work of Galesburg, Illinois artist Lynette Lombard, whose oil «Ox - Bow Tree and Lagoon» (2010) poses a thick white gestural trunk against planes of blue and orange, and whose work «Waverock» (2009) takes the viewer from expressionist fervor towards the cogent essays as to how realism can effect abstract economy in such works as «Cliff and Sea, Spain» and «Chicago Railbridge» (both 2010).

Shirley Crowther Art sources and promotes a distinctive group of artists whose work — mainly abstract in design — represents a creative journey, exciting in both concept and detail.

Shows have given pride of place to black abstract artists — like Jack Whitten, whose tiles of dark acrylic just ran elsewhere.

Excerpt — «Ballpoint Pen Drawing Since 1950,» features work by nearly a dozen artists created with the humble ballpoint pen... Here you have ballpoint masters like Il Lee, whose abstract «BL - 120» (2011) uses the pen's minute hatching capabilities, as well as the shininess of its ink, to full effect... — Martha Schwendener full article: http://www.nytimes.com/2013/04/07/nyregion/a-review-of-extreme-drawing-at-the-aldrich-contemporary-art-museum.html

Clare Bonnet, whose painting «Scarlet Peace» is shown here courtesy of the artist and Sarah Wiseman Gallery, is a Cornwall based artist who mixes figurative painting with abstract mark - making.

As the artist's first West Coast presentation, the exhibition is an unprecedented opportunity for Bay Area audiences to immerse themselves in the work of an artist whose singular contributions to twentieth - century modernism anticipate today's renewed interest in the sculptural and material qualities of abstract painting.

The pieces include interpretations of microscopic forms, expressive manipulations of unusual angles of vision, playful placements of figures whose points of view contrast with that of the artist and more abstract presentations of a visual experience.

Charles Green Shaw (American, 1892 - 1974) was a preeminent American abstract artist whose painting and writing contributed greatly to the social, artistic, and cultural dynamism of America.

Holton Rower is an artist whose abstract works are based on the unique tehnique of Pour paintings and the psychedelic art of the 1960's.

All three of these artists, whose work often bled back and forth across the borders of representation and abstract layering, had a rich, ongoing dialogue in both letters and art.

Such were the concerns at the heart of the Spiral Group, whose only exhibition, the 1965 First Group Showing: Works in Black and White, is represented by works by Emma Amos, Reginald Gammon, Norman Lewis, Hale Woodruff, and others — along with additional works by these artists, including Woodruff's large abstract painting Blue Intrusion (1958).

She was one of the few female artists to be promoted by the legendary Annely Juda, whose eponymous London gallery from 1968 introduced so many European and American abstract artists to this country.

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.

In the 1990s Drapell was widely exhibited in the United States and Europe, where he was recognized by American critic Kenworth Moffett and Parisian gallery owner Gérald Piltzer as a leading figure among the «new new painters,» a grouping of abstract artists in Canada and the northeastern United States whose work is characterized by high - keyed, glossy colour and built - up surfaces.

One of our favorite young abstract painters here at Supertouch is Brooklyn - based artist Eddie Martinez, whose show of gorgeous new work, Nomader, at Kohn Gallerycould easily be mistaken for a MoMA retrospective if you managed to forget what building you walked into.

Curated by Philip Pearlstein and Sidney Geist, the show included works by artists as varied as Louise Bourgeois, Charles Cajori, and Mary Frank, whose nearly abstract wood sculpture of a reclining figure is on view.

«Mal Maison,» organized by Ashton Cooper, brings together a diverse group of artists, among them Keltie Ferris, Simone Leigh and Shinique Smith, whose approach to the portrayal of the female form draws on queer and post-colonial thought in abstract and materials - based paintings and sculptures.

Ten circular canvases graced Elizabeth Dee's upstairs annex in a jewel - box exhibition dedicated to Betty Blayton, the late abstract painter whose artistic achievements have been partially eclipsed by her roles as cofounder of New York's Studio Museum in Harlem and as an advocate for African American artists.

On the other hand, both parts of Black in the Abstract make it perfectly clear that, on the whole, the quality of the work being produced by black artists whose practices include abstraction — as the inclusion of Hammons, McMillian and Donnett indicate, not everyone here is an «abstract painter» — does not suffer in comparison with that of their colleagues of other backgrounds, including major figures like Amy Sillman and Charline von Heyl, both of whom have work in Arning's Painting: A Love Story.

The Clark is making good use of its new Tadao Ando - designed gallery to celebrate some of those artists, with an exhibition of abstract modernist paintings by the likes of Jackson Pollock (whose Number 1, 1950 (Lavender Mist) is a highlight), Mark Rothko and Helen Frankenthaler.

As a postmodern artist, whose paintings revitalized a languishing genre in the era of image saturation, Wool creates provocative canvases whose abstract, self - referential imagery refers back to previous paintings to quote and re-quote past work.

Helen Frankenthaler, Morris Louis, Frank Stella, Ellsworth Kelly, Richard Diebenkorn [26] David Smith, Sir Anthony Caro, Mark di Suvero, Gene Davis, Kenneth Noland, Jules Olitski, Isaac Witkin, Anne Truitt, Kenneth Snelson, Al Held, Ronald Davis, [27] Howard Hodgkin, Larry Poons, Brice Marden, Robert Mangold, Walter Darby Bannard, Dan Christensen, Larry Zox, Ronnie Landfield, Charles Hinman, Sam Gilliam, Peter Reginato, were some of the artists whose works characterized abstract painting and sculpture in the 1960s.

Focusing on Philip Guston's mature production in abstraction and his later figuration, this book argues for Guston as a consistent artist whose generic shift in the late 60s, from Monet - like abstract hatchings to the cartoonish forms of his final decade and a half, reminded artists everywhere that courage is what it's all about.

Installation view April 22 — May 23, 2009 As the first of three shows in its temporary location at 4 East Second Street, Museum 52 New York presents four artists whose work, at its most simply stated, could be seen as abstract painting.

Named after a gallery that was to become the very first gallery in Soho, and which included like - minded artists Ed Ruda, Mark di Suvero, Peter Forakis, Robert Grosvenor Anthony Magar, Forrest Myers, Tamara Melcher, and Dean Fleming, The Park Place Group was an idiosyncratic bunch whose work, though abstract and geometric, didn't accord with the prevailing Minimalist ethos of pure form.

Working in watercolor, the artist tries his hand at a series of abstract motifs whose sparse forms float to the surface like notes of visual Muzak.

Charles Mayton is New York - based contemporary artist, whose paintings combine the abstract and the schematic, exploring the questions of time, language and performance in painting, straddling abstraction and figuration.