[5] By the 1960s, Neel had reached her mature style, blending elements
of realist representation with expressionistic aspects such as her frequent use of green as a base for skin tones, a choice that infuses her paintings with an unsettling quality.
Not exact matches
as his social -
realist picture, but those early scenes alone indicate a greater interest in the way
representations of reality can facilitate his genre - bending predilections.
For example, in 1960 a group
of realist painters wrote a letter complaining that the museum was incorporating too much abstraction into its painting annual; other groups advocated for the museum to establish a day
of free admission, or called out the lack
of representation for female artists and artists
of color.
From Megan Marrin & Tyler Dobson's Postkartenständer (Postcard Stand, 2014), on which photo -
realist selfie paintings were offered as postcards stacked among kitschy tourist views, to Allora & Calzadilla's Contract (SWMU 10)(2015), a huge silkscreen
of the lush, tourist brochure - style palm trees printed over a Warholish sweep
of grey paint (a sign
of the silkscreen medium itself),
representation was shown helplessly submitting to the production which makes it visible.
Night Vision is organized chronologically beginning with landscape artists» visions
of moonlight, moving to early Modernists» experimental
representations of electrified evenings, and concluding with interpretations
of the night by American
realists and abstract artists.
However, «Cowboys» can be seen not only as a cynical
representation of reality, but also, in the critical tradition
of Conceptual art, as a piercing inquiry into the ethos
of the American vernacular, and even as the existential gesture
of a figurative and
realist artist.
Other strengths
of the twentieth - century collection include: sixty works by members
of the Ash Can School; significant
representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O'Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson and Ralston Crawford; a good showing by the American Scene painters Charles Burchfield and Edward Hopper; a broad spectrum
of work by the Social
Realists Ben Shahn, Romare Bearden, Jacob Lawrence and Jack Levine; and ambitious examples
of Regionalist painting by Grant Wood, John Steuart Curry and Thomas Hart Benton, notably the latter's celebrated five - panel mural, The Arts
of Life in America (1932).
They share a common drive to subvert the tropes
of the
realist mediums by delving into the realm
of perception and allegorical
representation.
The move from a robustly
realist style
of representation through impressionism to purely abstract painting was seen as natural, inevitable, and good.
Drawn to Paris in 1912 Mondrian also explored Cubism, seeing in it an even bolder escape from a
realist mode
of representation.
He starts with a painting that is precisely what it purports to be — a painted wall rather than a
representation of a painted wall — an ultimate
realist painting.
Her work typically consists
of multi-part painting installations that reflect on the history
of art and issues surrounding
representation in
realist painting.