Sentences with phrase «of other abstract painters»

Ding's crosses, then, may have become simply the language he uses, but their accumulated units prove ambiguous enough to allow both microscopic and macroscopic projections from the world, and at the same time to trigger multiple echoes of other abstract painters.

Not terribly long ago I saw a late career retrospective of an elderly Chicago artist who basically spent his whole life imitating the work of other abstract painters.

• For details of other abstract painters, see: Irish Artists: Paintings and Biographies.

• For details of other abstract painters and sculptors, see: Irish Artists: Paintings and Biographies.

But in her work, and that of other abstract painters I've mentioned, the issue of whether there is anything already in such paintings, as opposed to what we might «read» into them, is often raised.

Not exact matches

She wrote that Mueller and a number of other painters were the «generation that essentially reinvented American abstract painting in the 1970s and»80s.»

Some other formative influences are apparent in the show's first room of paintings: for Krasner, it was the abstract painter and pedagogue Hans Hofmann; for Lewis, the Harlem art school director Augusta Savage.

Greenbaum is among a generation of women painters — Carrie Moyer and Amy Sillman are others — reclaiming abstract expressionism.

Piero Dorazio (Rome, June 29, 1927 - Perugia, May 17, 2005) was an Italian painter, whose work was related to Color field, Lyrical Abstraction and other forms of abstract art.

PAUL CUMMINGS: Well, there was a time when a lot of the painters felt there was a while conspiracy on Hess» part to promote certain abstract painters and not others.

The other version came in March at the Whitney Biennial, as a likeness of Emmett Till in his coffin was included in a series of abstract paintings by the white painter Dana Schutz.

Curator Gary Garrels worked with six abstract painters — Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool — to select one of their own recent paintings as well as works by other artists who have influenced their thinking.

The gallery represents each of these artists, as well as other influential mid-century abstract painters including Roger Kuntz, June Wayne, and James Jarvaise.

And he was doing it with the kind of deeply seductive, gutsy painterliness that, say, Philip Guston, that other abstract - turned - figurative painter — and upstate New Yorker — wasn't.

Meanwhile, other action painters, notably Willem de Kooning, Arshile Gorky, Norman Bluhm, Joan Mitchell, and James Brooks, (see gallery) used imagery via either abstract landscape or as expressionistic visions of the figure to articulate their highly personal and powerful evocations.

An abstract painter, Greenbaum «wields a vast visual glossary, with her works sometimes reading like punchy, assured, confrontational statements and at other times ballooning quietly across the page like slow - capture botanical animation, never arriving at any kind of declaration,» Ali Fitzgerald has written.

Bringing together three painters with distinct oeuvres — that have been, at times, linked to the legacy of German painting, or even of Albert Oehlen himself — the panel will consider abstract painting in relation to other contemporary manifestations of abstraction in economics (market speculation), philosophy (anti-essentialist thought, questions around the structure of time, semiotics), digital culture (sampling, rendering), and aesthetics more generally (considerations of form, the notion of style).

A possible correction: I don't know abstract painters or surrealists but I do know photographers: Ernst's other woman «Dorothea» is likely not Dorothea Lange as stated in the first part of the article but the Dorothea Tanning mentioned in the second.

Frankenthaler, Louis and Noland formed the core of a group known as the colour field painters, though the critic Clement Greenberg preferred one of his own clunking coinages, «post-painterly abstractionists», meaning that after the «painterly» surfaces of the abstract expressionists, the purely colour - based paintings of Noland and the others marked out a different and more advanced stage of art's march to absolute abstraction.

The addition of motion and sound brought new dimensions to the abstract art pioneered by Wassily Kandinsky and other avant - garde painters of the early twentieth century.

In this exhibition six contemporary abstract painters — Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool — were asked to select one or two of their recent paintings to be shown alongside works by other artists who have had a significant impact on their thinking and the development of their practice.

A native New Yorker, he came of age as an artist during the late 1980s and early 1990s alongside other now established abstract painters, including Richmond Burton, Gail Fitzgerald, Daniel Levine, Carl Ostendarp, Kate Shepherd, Cary Smith, Dan Walsh, Mary Weatherford, and Stephen Westfall, among others.

September 24 - October 29, 2011 MINUS SPACE is delighted to present the exhibition Ted Stamm: Paintings, an overview of paintings, works on paper, street interventions, and other materials by the late NYC - based abstract painter.

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.

For Australian abstract painters to look back at this moment, and compare it to their own, could prove quite beneficial, and force a complete reversal of what we are always taught, that Blue Poles and other paintings like it signify the end of the line for painting, the last port of call before the inevitable disembodiment into performance and conceptual art.

Only within the microcosm of abstract painting itself, where one pole is dominated by the extreme reductiveness of the so - called «Radical» painters and the other is exhausted by the sheer scope of Gerhard Richter's all encompassing photo - expressionism could Reed be seen as decadent.

But among the things they had in common was a rejection of the gestural painting favoured by the abstract expressionists and other abstract painters, and the personal agonising associated with Auerbach, Bacon and what would come to be known as the School of London.

Visiting Robert Ruello's third solo exhibition at Inman Gallery, I was reminded of the term «abstract illusionism,» which critic Barbara Rose coined in the late 1960s to describe painters using trompe - l'oeuil devices to create spatial and other pictorial illusions in non-representational painting.

But his question wasn't wrong per se — it just didn't have much to do with the achievement of his exhibition, which takes a more interesting, less expected tack: Garrels asked six abstract painters working in the United States to «select one or two of their own recent paintings to be shown with works by other artists who have had a significant impact on their thinking and the development of their own work.»

These artists used familiar scenes to engage a wide range of audiences with fine art, in contrast to the popularity of European trends in abstract painting among other American painters of their generation.

He earned an MFA from the Maryland Institute College of Art, where his teachers included abstract painters Philip Guston and Clyfford Still, among others.

In essays that address links with the poetry of Robert Frost and the paintings of Edward Hopper, Charles Sheeler and other artistic peers, the authors consider Wyeth's statement that he was, in fact, an abstract painter.

In 2001 Hoyland was commissioned to design a mosaic mural for the Rome Metro as part of a much larger project involving other artists, mostly Italian (his friend the abstract painter Piero Dorazio, among them), and including Patrick Caulfield.

There she joins a formidable stable of abstract and quasifigurative painters: Charline von Heyl, Nicola Tyson and Maria Lassnig, among others.

We will be presenting a work on paper by Mark Rothko from 1957, a suite of prints from the 1960s pop series by Roy Lichtenstein and a classic black and white work from 1955 by the abstract painter Franz Kline as well as two early works by Andy Warhol from 1964, one an iconic painting from his Electric Chair series, the other a silkscreen on paper from the Race Riot series.

A painter, sculptor, and printmaker, Sultan is regarded for his ongoing large - scale painted still lifes featuring structural renderings of fruit, flowers, and other everyday objects, often abstracted and set against a rich, black background; but he is also noted for his significant industrial landscape series that began in the early 1980s entitled the Disaster Paintings, on which the artist worked for nearly a decade.

Looking at Martin Bromirski and Amy Feldman, among others, Butler saw abstract painters «saying goodbye to all that didactic thinking and exuding a kind of calculated tentativeness.»

The Unbearable Yet Obligatory And other shows of modern and contemporary works Shirley Jaffe (b. 1923; lives in Paris) is one of the most accomplished American abstract painters of her generation — yet she has never been included in a Whitney Biennial.

Perhaps more than any other sculptor of his generation, he made manifest in his sculpture of the early 50's the whole, abstract and essentially non-Cubist space that was being developed by the Abstract Expressionist painters.

«So Pasmore, in spite of his abortive pursuit of pure abstraction, joined the ranks of the British semi abstract painters, Lanyon, Hilton, Scott, Hodgkin, and others, who can not commit to a full hearted abstraction, but in their irresolution on the question offer succour to all those who hold on to that naturalistic spatial illusion, or hints of such, that keeps their work linked to the old English traditions of poeticised landscape reference»

Some Americans art historians believed that your work possessed a kind of symbolic and emotional content that reflected the experience of the war more accurately than other painters and, in a way, different form the paintings of the abstract expressionists.

Ad also spoke of his regard for other abstract painters, such as Carl Holty, Balcomb Greene, and Burgoyne Diller.

The Other nominees for the inaugural year included sculptor Richard Deacon, the collaborative duo Gilbert & George, abstract painter Howard Hodgkin and sculpture and installation artist Richard Long — but unlike his fellow nominees Morley just did not fit into any one particular genealogy; with his connection to Photorealism, or Super-realism — as he named it — later being discarded by the artist in favour of a more expressive method of painting — that critics deemed a kind of Neo-expressionism.

«We work with some informed collectors in Uruguay, Argentina and Brazil who have made a significant commitment to the art of Joan Mitchell, and to that of other first - generation abstract expressionist painters.

She attended the Emily Carr University of Art and Design, where, like other artists of her generation, she encountered the instructor and abstract painter Elizabeth McIntosh, whose fresh and expansive approach to abstract painting has played a critical role in Mouton's art.

And while it could be argued that the dazzling boom and bust of a few 26 - year - old white male skateboarders - cum - abstract - painters isn't representative of thousands of other emerging artists, the spectacular market failure of that one, tiny group had a much broader cooling effect on the market: With collectors suddenly questioning the value of their not - insignificant investments (no matter how rich you are, watching your $ 100,000 painting go to $ 20,000 in a few months has to be unpleasant), a crisis of confidence resulted in some very good galleries going under.

Betty Goodwin: At Work is one of a three - part exhibition examining the studio practice of three exceptional innovators (the others are the American sculptor Eva Hesse and Saskatchewan - born abstract master painter Agnes Martin), and for me, the absolute standout.

There is, in van Velde's work, a quality of indecision and incompleteness, of being improvised rather than planned, of being left in a transitional stage, in other words, of Provisionalism — as defined by Raphaël Rubinstein in his now famed article from 2009 — which makes it relevant to today's state of affairs in abstract painting as well as to the young painters loosely grouped under the name of New Casualists.

• For biographies of other French abstract artists, see: Twentieth Century Painters.

As well as Schmidt and all former members of Die Brucke, other banned artists included members of the Der Blaue Reiter expressionist group, such as the abstract painter Wassily Kandinsky (1866 - 1944), the Russian Alexei von Jawlensky (1864 - 1941), the colourist Franz Marc (1880 - 1916) and the Swiss painter Paul Klee (1879 - 1940).