Sentences with phrase «on modern abstraction»

Gerhard Richter: Colour Charts is accompanied by a comprehensive book featuring newly commissioned essays by Dietmar Elger, Head of the Gerhard Richter Archive; Hubertus Butin, curator and author of several key texts on Richter; and Jaleh Mansoor, Professor at the University of British Columbia, whose research concentrates on modern abstraction and its socio - economic implications.

Gerhard Richter: Colour Charts is accompanied by a comprehensive book featuring newly commissioned essays by Dietmar Elger, Head of the Gerhard Richter Archive; Hubertus Butin, curator and author of several key texts on Richter; and Jaleh Mansoor, Professor at the University of British Columbia, whose research concentrates on modern abstraction and its economic implications.

Not exact matches

This is what Whitehead speaks of as its «relational essence» — see his chapter on «Abstraction» in Science and the Modern World.

Organized both thematically and chronologically, the show divides the works on view into two main chapters: the years from 1923 to 1933, a time when Torres - García was involved in early modern avant - garde movements such as Catalan Noucentismo to Cubism, Ultraism - Vibrationism, and Neo-Plasticism; and those from 1935 to 1943, a time in which he was fully committed to creating works in his unique style of synthetic abstraction.

A blog post asserting a true commonality shared by the artists included in Inventing Abstraction: 1910 - 1925 at the Museum of Modern Art, New York, on view through April 15, 2013.

Developed by the Tate Modern in London and debuting in the US at Crystal Bridges, Soul of a Nation: Art in the Age of Black Power examines the influences, including the civil rights movement, Minimalism, and abstraction, on artists such as Romare Bearden, Noah Purifoy, Martin Puryear, Faith Ringgold, Betye Saar, Alma Thomas, Charles White, and William T. Williams.

This will be after taking in Robins sculpture, and Gary Wraggs paintings in Deal.Great that there are two shows of British Abstract Painting and Sculpture on at the moment.With Bill Tucker at Pangolin and Sams cracking show of 60s colour in Liverpool, Abstraction is far from a dead issue.Indeed there is a symposium by Matthew Macauley at a northern university [to be confirmed] coming up, with requests for papers.Two very good painters rang me to say go and see the Picasso show at Tate Modern, which I did.It was stunning and there were probably eight or so masterpieces in one room from one year!Tony and Sheila Caros show in Peterborough and Graham Boyd at the Cut, Frank Bowling in Dublin and Scully in Newcastle, Mali Morris at Women can't Paint at Turps Banana, loads to see, enjoy, think about and stimulate new work.I hope there are all those hungry [artistically] young Abstract Painters and Sculptors out there keen to extend the genre.!

2010 Art Basel Miami Beach, Galerie Thomas, Miami (December 2 — 5) From a collection of Abstract Works on Paper 1946 - 1961, Cheim & Read, New York (October 29 — December 30) Abstraction Revisisted, Chelsea Art Museum, New York (October 7 — December 16) Abstract Expressionist New York, Museum of Modern Art, New York (October 3, 2010 — April 25, 2011).

Spare and geometric, his work evokes the history of modern abstraction, but his idiosyncratic approach based on the repetition of -LSB-...]

125, December 1986 Kenworth Moffett, «Abstraction Offers the most Exciting Possibilities», Art New England, September 1985 John Link, «Pre Post Modern», Catalogue to the Exhibition, March 1985 Karen Wilkin, «Susan Roth: An Essay on Recent Paintings», Arts Magazine, Oct. / Nov. 1984, Illustrated Valentin Tatransky, «The New Avant - Guard», Art International, April / June 1984 Vol.

An exhibition of some 90 rarely seen works by three artists who pioneered the development of modern abstraction: Hilma af Klint (Sweden, 1862 - 1963), Emma Kunz (Switzerland, 1892 - 1963) and Agnes Martin (Canada / US, 1912 - 2004), opens to the public at the Irish Museum of Modern Art on Wednesday 25 Jamodern abstraction: Hilma af Klint (Sweden, 1862 - 1963), Emma Kunz (Switzerland, 1892 - 1963) and Agnes Martin (Canada / US, 1912 - 2004), opens to the public at the Irish Museum of Modern Art on Wednesday 25 JaModern Art on Wednesday 25 January.

Iva Gueorguieva adapts the visual language of modern abstraction to create tumultuous, energetic spaces on canvas; her process of building up paintings by layering torn cloth with pigment and color washes produces spontaneous, dynamic compositions rooted in personal stories.

His goal was not to document, but to capture their essence and the urban landscape in the graphic and abstract... to build upon their impact on the urban landscape as modern abstractions that have been filled with color, shapes and patterns.

McElheny's installation uses translucent projection cloth, mirrors and film to present a very contemporary take on abstraction, while Rodriguez's depiction of a tongue, with an acupuncturist's diagnoses scrawled over the image, explores society's obsession with health, and the competing claims of traditional and modern medicine.

Vasily Kandinsky, «Composition # 5», on view at «Inventing Abstraction 1910 — 1925», MoMA.Image courtesy Museum of Modern Art

Recent notable group exhibitions include «Geometries On and Off the Grid: Art from 1950 to the Present», The Warehouse, Dallas, Texas, USA (2015); «Geometric Perspectives on Japanese Abstraction», BTAP, Tokyo, Japan (2014); «Tokyo 1955 - 1970 New Advanced Guard», The Museum of Modern Art, New York, USA (2013); «The 70s in Japan, 1968 - 1982» The Museum of Modern Art, Saitama, Japan (2013); «Mono - ha Avantguard», Nakanoshima Design Museum, Oska, Japan (2012); «Depicting the Uncanny: Tricks and Humor», The Yokosuka Museum of Art, Kanagawa Japan (2011); «Japanese Art after 1945: Scream Against the Sky», Yokohama Museum of Art, Kanagawa, Japan; touring to Guggenheim Museum SoHo, New York, USA; San Francisco Museum of Modern Art in association with the Center for the Arts at Yerba Buena Gardens, San Francisco, USA (1994On and Off the Grid: Art from 1950 to the Present», The Warehouse, Dallas, Texas, USA (2015); «Geometric Perspectives on Japanese Abstraction», BTAP, Tokyo, Japan (2014); «Tokyo 1955 - 1970 New Advanced Guard», The Museum of Modern Art, New York, USA (2013); «The 70s in Japan, 1968 - 1982» The Museum of Modern Art, Saitama, Japan (2013); «Mono - ha Avantguard», Nakanoshima Design Museum, Oska, Japan (2012); «Depicting the Uncanny: Tricks and Humor», The Yokosuka Museum of Art, Kanagawa Japan (2011); «Japanese Art after 1945: Scream Against the Sky», Yokohama Museum of Art, Kanagawa, Japan; touring to Guggenheim Museum SoHo, New York, USA; San Francisco Museum of Modern Art in association with the Center for the Arts at Yerba Buena Gardens, San Francisco, USA (1994on Japanese Abstraction», BTAP, Tokyo, Japan (2014); «Tokyo 1955 - 1970 New Advanced Guard», The Museum of Modern Art, New York, USA (2013); «The 70s in Japan, 1968 - 1982» The Museum of Modern Art, Saitama, Japan (2013); «Mono - ha Avantguard», Nakanoshima Design Museum, Oska, Japan (2012); «Depicting the Uncanny: Tricks and Humor», The Yokosuka Museum of Art, Kanagawa Japan (2011); «Japanese Art after 1945: Scream Against the Sky», Yokohama Museum of Art, Kanagawa, Japan; touring to Guggenheim Museum SoHo, New York, USA; San Francisco Museum of Modern Art in association with the Center for the Arts at Yerba Buena Gardens, San Francisco, USA (1994).

But geometric abstraction, with its play on modular units and grids, has proved to have vital relevance to the modern world and its accelerated programme of industrialisation and electrification.

Arman began to work on paintings that only resembled gestural abstractions, while he was actually producing concrete artistic forms, using an already existing object, the products of the modern time and its society.

The exhibition combines a chronological display with a thematic approach, structured in a series of major chapters in the artist's career, with emphasis on two key moments: the period from 1923 to 1933, when Torres - García participated in various European early modern avant - garde movements while establishing his own signature pictographic / Constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.

Included in the massive show, which goes to London's Tate Modern after MoMA, are abstractions like the ghostly, white - streaked Untitled (2007), as well as the classic 1980s piece Watchtower with Geese (1988), with its totalitarian subject matter and its use of interlocking color and patterns on fabric — one of Polke's many experiments with materials other than plain old oil on canvas.

With the development of his pliage method firmly solidifying Hantaï's position as a celebrated leader in European abstraction, he went on to exhibit widely across Europe while American museums, such as the Museum of Modern Art and the Hirshhorn Museum and Sculpture Garden, acquired his work.

1995 Choice Morsels from the Collection of the Centre National d'Art Contemporain, Centre National d'Art Contemporain, Grenoble, France Velge Noirhomme Gallery, Brussels Works on Paper, Baumgartner Galleries, Washington, DC Transatlantic, Museo de Artes Visuales Alejandro Otero, Caracas, Venezuela Out Of Use 95: Caravanserraglio Arte Contemporanea, Pescara, Italy Pièces — Meublés, Espace Gran Dia / Galerie Jousse Seguin, Paris (curated by Robert Nickas) Komix, Brooke Alexander Editions, New York Peter Halley and Ettore Sottsass, Jay Gorney Modern Art, New York Pace Prints, Ewing Gallery of Art and Architecture, University of Tennessee, Knoxville, TN Exhibition in Honor of the 30th Anniversary of the Israel Museum, Marian Goodman Gallery, New York Altered States, Forum for Contemporary Art, St. Louis, MO (curated by Robert Nickas, catalogue) Pittura Immedia, Malerei in den 90er Jahren, Landesmuseum Joanneum Graz, Klagenfurt, Austria (catalogue) It's Only Rock and Roll, Phoenix Art Museum, Phoenix, AZ (catalogue) Degrees of Abstraction: From Morris Louis to Mapplethorpe, Museum of Fine Arts, Boston, MA New York Abstract, Contemporary Arts Center, New Orleans, LA (catalogue) Compensation, Gabinetto Disegni e Stampe Degli Uffizi, Florence, Italy Critiques of Pure Abstraction, Sarah Campbell Blaffer Gallery, University of Houston, TX (catalogue); travelled to Illingworth Kerr Gallery, Alberta College of Art, Calgary, Canada; Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE; Armand Hammer Museum of Art, Los Angeles; Crocker Art Museum, Sacramento, CA; Museum of South Texas, Corpus Christi, TX; Lowe Art Museum, University of Miami, Coral Gables, FL; Polk Museum of Art, Lakeland, FL; Frederick R. Weisman Art Museum, University of Minnesota, Minneapolis (catalogue) Mesótica Painting, America non-representativa, Museo de Arte y Diseño Contemporaneo, San Jose, Costa Rica (catalogue) Open Your Heart, AIDS Resource Center's Seventh Annual Valentine Auction, Christinerose Gallery, New York Reinventing the Emblem, Yale University Art Gallery, New Haven, CT (catalogue) Private Passions, Musée d'Art Moderne de la Ville de Paris, Paris (catalogue)

Be sure to check out booths by Galerie Ernst Hilger from Vienna, representing the works of artists such as Erró and Mel Ramos, along with exponents of Austrian modernism from the 1960s onward and the main exponents of the most important international art movements of the 20th century; Galerie Lisa Kandlhofer from Vienna, representing emerging and mid career artists; Galerie Thaddaeus Ropac from London, Paris and Salzburg, specialised in international, contemporary art representing around 60 artists and a number of renowned estates; SUPPAN FINE ARTS from Vienna, focusing on international and modern as well as representatives of art after 1945; and PIFO Gallery from Beijing, representing a selection of Chinese and international artists with a core focus on minimalism and abstraction; among others.

From the same period, Abstraction (1949 — 50) revealed the potent religious symbolism that permeated the artist's iconography, which spans from lust and perdition to salvation, making it a modern take on the reflections on the human condition rendered by the masters of classical painting.

The effects that the artists achieved, in the series of paintings of the 1890's, represent a remarkable advance towards abstraction and towards a modern painting focused purely on surface effect.

Also given prominent spaces are Channa Horowitz, who died last year, with large - scale, intricately constructed ink drawings on mylar that are reminiscent of Hanne Darboven's numeric abstractions, and leporellos — painted accordion - folding books — by Etel Adnan, the Lebanese - American writer and artist who participated in dOCUMENTA 13 and has an exhibition at the Arab Museum of Modern Art (aka Mathaf) in Doha coming up later in March.

On the path from «Creating the Modern Stage» to installation art, Guyton / Walker and Jacqueline Humphries find abstraction.

The exhibition, which takes its title from a protest sign captured by Bettmann on Fifth Avenue in Manhattan during the Women's Liberation Parade in August 1971, is curated to complement and expand on Making Space: Women Artists & Postwar Abstraction currently on view at the Museum of Modern Art (MoMA, New York).

Kamrooz Aram «Focus Series» The Modern Art Museum of Fort Worth, Fort Worth March 31 — June 17 The work of the Iranian - born, Brooklyn - based artist Kamrooz Aram challenges the narrative of art history, making the case for non-Western influences on modernism and abstraction.

With his impeccably poised hard - edge abstractions, on display at Fredericks & Freiser, Cary Smith does not snipe at the existing borders of Modern painting or endeavor to elevate its political nuance.

2014 Venus Drawn Out: 20th Century Drawings by Great Women Artists, The Armory Show Modern, New York, NY Beyond the Spectrum: Abstraction in African American Art, 1950 - 1975, Michael Rosenfeld Gallery LLC, New York, NY RISING UP / UPRISING: Twentieth Century African American Art, Michael Rosenfeld Gallery LLC, New York, NY The Harmon & Harriet Kelley Collection of African American Art: Works on Paper, Pennsylvania Academy of Fine Arts, Philadelphia, PA African American Art: Harlem Renaissance, Civil Rights Era and Beyond, Crocker Art Museum, Sacramento, CA Conversations: African and African American Artworks in Dialogue from the Collections of the Smithsonian National Museum of African Art and Camille O. and William H. Cosby Jr., Smithsonian National Museum of African Art, Washington, DC Prospect.3: Notes for Now, New Orleans Museum of Art, New Orleans, LA

Nine artists show how geometric shapes still inform and delight modern painters, creating vibrant works which suggest that one hundred years on abstraction is alive and kicking.

Traveled to: Renwick Gallery, National Collection of Fine Arts, Smithsonian Institute, Washington, D.C.; Cooper - Hewitt Museum, New York, 1979 - 1980 «Art from Corporate Collections,» Union Carbide Corporation Gallery, New York, May 9 - 30 «Selections from the Collection of Mr. and Mrs. Eugene Schwartz,» Knoedler Gallery, October 31 - November 28 «Color Abstractions: Selections from the Museum of Fine Arts, Boston,» Federal Reserve Bank Display Area, November 2 - January 31, 1980 1980 «L'Amerique aux Independents,» 91e Exposition, Societe des Artistes, Grand Palais, Paris, March 13 - April 13 «The Washington Color School Revisited: The Sixties,» Fendrick Gallery, Washington, D.C., September 9 - October 4 «Washington Color Painters,» Milwaukee Art Center, September 1 - December 1981 «Paintings from the United States from the Museums of Washington, D.C.,» Institute of Fine Arts, Mexico City, November 18, 1980 - January 4 1982 «A Private Vision: Contemporary Art from the Graham Gund Collection,» Museum of Fine Arts, Boston, February 7 - April 4 «Papermaking U.S.A.: History, Process, Art,» American Craft Museum, New York, May 20 - September 26 «Out of the South: An Exhibition of Work by Artists Born in the South,» Heath Gallery, Atlanta, Georgia, October 1982 1983 «Early Works by Contemporary Masters: Caro, Francis, Frankenthaler, Gottlieb, Held, Louis, Noland, Olitski,» Andre Emmerich Gallery, New York, September 6 - October 8 «Tapestries: Contemporary Masters,» Malcolm Brown Gallery, Shaker Heights, Ohio, October 21 - November 30; New York, February 25 - March 7 «American Post-War Purism,» Marilyn Pearl Gallery, New York, May 31 «Recent Paintings by Kenneth Noland and Darby Bannard,» Douglas Drake Gallery, Kansas City, Missouri, June 1 - 30 «Arte Contemporaneo Norteamericans, Collection David Mirvish,» American Embassy in Madrid, January 1985 «Recent Acquisitions,» Museum of Modern Art, New York, February 16 - March 17 «Grand Compositions: Selections from the Collection of David Mirvish,» The Fort Worth Art Museum, Texas, May 1 «Contemporary Monotypes,» Edith C. Blum Art Institute, Bard College, Annandale - on - Hudson, May 8 - July 10 «Selections from the William J. Hokin Collection,» Museum of Contemporary Art, Chicago, April 20 - June 16 «American Abstract Painting,» Margo Leavin Gallery, Los Angeles, California, June 19 - August 24

(c. 1916 - 1917) Linoleum cut title page with watercolor & gouache additions from a portfolio of six linoleum cuts June 11 — August 18, 2008 This exhibition, which inaugurates a series of newly opened galleries on the Museum's second floor, surveys the widespread and recurring impulse toward geometric abstraction in modern and contemporary art.

She writes on modern and contemporary art with an emphasis on abstraction, painting, process, creativity, pedagogy, and American philosophy as it intersects with aesthetics and institutional discourses.

On November 6, 2016, Permanent Abstraction: Epiphanies of a Modern Form in Escaped Totalities open at the Red Brick Art Museum in Beijing.

The Time is Now is curated to expand on the Museum of Modern Art's, New York, current show Making Space: Women Artists & Post-war Abstraction.

Her areas of research and teaching interest span the modern Americas, with an emphasis on the art of twentieth - century Cuba and Puerto Rico, the transnational history of abstraction, and the postwar avant - garde.

An exhibition at the former, «Matisse and American Art,» (through June 18) explores Matisse's influence on American modern art from 1907 to the present, while one at the latter «Making Space: Women Artists and Postwar Abstraction,» (through August 13) displays female abstract artists» accomplishments between 1945 and 1968.

Between them, the works study the major abstract Modern movements on the 20th century, geometric abstraction, painterly gesture and the elements of human imperfection which can find expression in artwork.

Clement Greenberg, the most influential of apologists for modern painting of the period, placed particular stress on the formal elements of abstraction, while artists» more otherworldly ideals tended to be played down.

2008 Text / Messages: Books by Artists - Walker Art Center, Minneapolis, MN Inspired by Literature: Art and Fine Books - Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ PEGGY GUGGENHEIM E LA NUOVA PITTURA AMERICANA - Peggy Guggenheim Collection, Venice Collector's Eye - Gana Art Gallery, Seoul Blake to Kahlo to Warhol: Masterworks from the Harry Ransom Center - El Paso Museum of Art (EPMA), El Paso, TX 1945 - 1949 Repartir à zéro, comme si la peinture n'avait jamais existé - Musée des Beaux - Arts de Lyon, Lyon Action / Abstraction - Saint Louis Art Museum, Saint Louis, MO Contemporary Masters: Print Selections - Amy Simon Fine Art, Westport, CT REFLECTIONS ON LIGHT - 30 years Galerie Bernd - Galerie Klüser, Munich Tilted Balance - Collectors Contemporary, Singapore From Abstract Expressionism to Pop Art: Johns, Rauschenberg and the Aesthetic of Indifference — Sonoma Valley Museum of Art, Sonoma Nuances of Printmaking - Koehnline Museum of Art, Des Plaines (IL) The sight of music - Mississippi Museum of Art MMA, Jackson, MS Abstraction: Summer 2008 - Thomas McCormick Gallery, Chicago, IL Philadelphia Collects: Works on Paper - Delaware Center for Contemporary Arts - DCCA, Wilmington, DE Ganz schön ART - ig - LECKERBISSEN III - Fischerplatz Galerie, Ulm Paper Trail II: Passing Through Clouds - The Rose Art Museum, Waltham, MA Modern and Contemporary Prints - Osborne Samuel, London, United Kingdom Action / Abstraction: Pollock, de Kooning, and American Art, 1940 - 1976 - The Jewish Museum of New York, New York City, NY Blood on Paper - the Art of the Book - Victoria & Albert Museum - V&A, London, United Kingdom Die Hände der Kunst - MARTa Herford, Herford Side By Side Docents» Choice: Works On Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far OuON LIGHT - 30 years Galerie Bernd - Galerie Klüser, Munich Tilted Balance - Collectors Contemporary, Singapore From Abstract Expressionism to Pop Art: Johns, Rauschenberg and the Aesthetic of Indifference — Sonoma Valley Museum of Art, Sonoma Nuances of Printmaking - Koehnline Museum of Art, Des Plaines (IL) The sight of music - Mississippi Museum of Art MMA, Jackson, MS Abstraction: Summer 2008 - Thomas McCormick Gallery, Chicago, IL Philadelphia Collects: Works on Paper - Delaware Center for Contemporary Arts - DCCA, Wilmington, DE Ganz schön ART - ig - LECKERBISSEN III - Fischerplatz Galerie, Ulm Paper Trail II: Passing Through Clouds - The Rose Art Museum, Waltham, MA Modern and Contemporary Prints - Osborne Samuel, London, United Kingdom Action / Abstraction: Pollock, de Kooning, and American Art, 1940 - 1976 - The Jewish Museum of New York, New York City, NY Blood on Paper - the Art of the Book - Victoria & Albert Museum - V&A, London, United Kingdom Die Hände der Kunst - MARTa Herford, Herford Side By Side Docents» Choice: Works On Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far OuON LIGHT - 30 years Galerie Bernd - Galerie Klüser, Munich Tilted Balance - Collectors Contemporary, Singapore From Abstract Expressionism to Pop Art: Johns, Rauschenberg and the Aesthetic of Indifference — Sonoma Valley Museum of Art, Sonoma Nuances of Printmaking - Koehnline Museum of Art, Des Plaines (IL) The sight of music - Mississippi Museum of Art MMA, Jackson, MS Abstraction: Summer 2008 - Thomas McCormick Gallery, Chicago, IL Philadelphia Collects: Works on Paper - Delaware Center for Contemporary Arts - DCCA, Wilmington, DE Ganz schön ART - ig - LECKERBISSEN III - Fischerplatz Galerie, Ulm Paper Trail II: Passing Through Clouds - The Rose Art Museum, Waltham, MA Modern and Contemporary Prints - Osborne Samuel, London, United Kingdom Action / Abstraction: Pollock, de Kooning, and American Art, 1940 - 1976 - The Jewish Museum of New York, New York City, NY Blood on Paper - the Art of the Book - Victoria & Albert Museum - V&A, London, United Kingdom Die Hände der Kunst - MARTa Herford, Herford Side By Side Docents» Choice: Works On Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far Ouon Paper - Delaware Center for Contemporary Arts - DCCA, Wilmington, DE Ganz schön ART - ig - LECKERBISSEN III - Fischerplatz Galerie, Ulm Paper Trail II: Passing Through Clouds - The Rose Art Museum, Waltham, MA Modern and Contemporary Prints - Osborne Samuel, London, United Kingdom Action / Abstraction: Pollock, de Kooning, and American Art, 1940 - 1976 - The Jewish Museum of New York, New York City, NY Blood on Paper - the Art of the Book - Victoria & Albert Museum - V&A, London, United Kingdom Die Hände der Kunst - MARTa Herford, Herford Side By Side Docents» Choice: Works On Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far Ouon Paper - Delaware Center for Contemporary Arts - DCCA, Wilmington, DE Ganz schön ART - ig - LECKERBISSEN III - Fischerplatz Galerie, Ulm Paper Trail II: Passing Through Clouds - The Rose Art Museum, Waltham, MA Modern and Contemporary Prints - Osborne Samuel, London, United Kingdom Action / Abstraction: Pollock, de Kooning, and American Art, 1940 - 1976 - The Jewish Museum of New York, New York City, NY Blood on Paper - the Art of the Book - Victoria & Albert Museum - V&A, London, United Kingdom Die Hände der Kunst - MARTa Herford, Herford Side By Side Docents» Choice: Works On Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far Ouon Paper - the Art of the Book - Victoria & Albert Museum - V&A, London, United Kingdom Die Hände der Kunst - MARTa Herford, Herford Side By Side Docents» Choice: Works On Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far Ouon Paper - the Art of the Book - Victoria & Albert Museum - V&A, London, United Kingdom Die Hände der Kunst - MARTa Herford, Herford Side By Side Docents» Choice: Works On Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far OuOn Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far OuOn Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far Out!

Georgia O'Keeffe, although not part of the RA show (but much in evidence at Tate Modern), pioneered a form of abstraction built on highly symbolic visions of the body and landscape.

In this podcast recorded on March 8, 2007, at the National Gallery of Art as part of the Elson Lecture Series, Sean Scully, an artist of international acclaim, discusses his work in the modern tradition of abstraction.

Her unprecedented piece Rhapsody (1975 — 76, collection Museum of Modern Art), a painting on 987 gridded, enameled steel plates, reads as a lyrical conversation between mathematical abstraction and painterly figuration.

Group Exhibitions 2018 Stretch / Pulled / Inked, Impact Arts, as part of the Glasgow International, Glasgow (upcoming) Glasshouse, Glasgow Botanic Gardens, Glasgow (upcoming) 2017 Amazing Perplexity, Curated by Nathalie Hoyos, Rainald Schumacher and Alevtina Kakhidze, Residents Group Exhibition of FACE — Artist Residence Program in Kiev 2016 Factually Real Illusions, curated by Lorna McDowell, Cookhouse Gallery Chelsea College of Art, London Semi-Gloss, Semi-Permeable, Glasgow International Festival 2015 International Women's Contemporary Art Forum — A Crossing Section of Art, BankART Studio NYK, Yokohama Finite Project Altered When Open, David Dale Gallery, Glasgow Abstraction from Architecture, Edinburgh Print Studio Hold, Sway, Generator Projects, Dundee 2013 Editionshow, Chert, Berlin You're my wife now, Infernoesque project space, Berlin Every Day, GoMA, Gallery of Modern Art, Glasgow 2012 Tintenfisch, CNEAI =, Paris, organized by Chert & Motto in the frame of Berlin - Paris exchange 2011 Industrial Aesthetics: Environmental Influences on Recent Art from Scotland, Times Square Gallery of Hunter College, City University of New York Annuale, Edinburgh 2010 Drinnen & Draussen, Chert, Berlin A man, some chickens and one corner, with Petrit Halilaj and Heike Kabisch, Berlin — Paris exchange, Galerie Carlos Cardenas, Paris, with Chert, Berlin 2009 Spacioux, curated by Michela Arfiero, Paola Gallio, Daniela Lotta, Lambretto Art Project, Milan Motto & Chert & Roses, Tulips & Roses, Vilnius 2008 You can't hide your love forever, LH Gallery, Paris And So It Goes, Art news Projects, Berlin MFA Degree Show, Tramway, Glasgow Flock, Bezalel Gallery, Tel Aviv 2007 MFA Interim show, Glasgow School of Art, Glasgow Devil Blue Dress, The Factory, Impact Arts, Glasgow 2005 Tercet, Intermedia, King Street, Glasgow 2004 Pieces, The Factory, Impact Arts, Glasgow

1993 The Brush Stroke, Ruth Bloom, Santa Monica, USA The Permanent Collection Revisited, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA New York on Paper, Thaddaeus Ropac, Paris, France Drawing the Line Against AIDS, Venice Biennale, Venice, Italy and Guggenheim Museum Soho, New York, USA Color, Pamela Auchincloss, New York, USA New York Painters, Sammlung Götz, Munich, Germany New Moderns, Baumgartner Gallery, Washington, D.C., USA (Joseph Masheck, Curator) Off the Mall: Inside Washington's Foremost Art Galleries, Art Museum of the Americas, Washington, D.C., USA Zeichnungen Setzen Zeichen, Kunstler Der Documenta IX, Raymond Bollag, Zurich, Switzerland Galerie nächst St. Stephan, Vienna, Austria The American Livre de Peintre, Grolier Club, New York, USA The Spirit of Drawing, Sperone Westwater, New York, USA Italy — America: Abstraction Redefined, Galleria d'Arte Moderna, San Marino Republic (Demetrio Paparoni, Curator) Jours tranquilles à Clichy, Paolo Goyannes, Paris; Tennisport, Long Island City, NY, USA (Alain Kirili, Curator) Summer Exhibition, Sperone Westwater, New York, USA

Modern Masters On View In Palm Beach — Mark Borghi Fine Art — New York, New York City, NY Out of Hand — Materializing the Postdigital — Museum of Arts and Design, New York City, NY The Show Is Over — Gagosian Gallery, London Re-View: Onnasch Collection — Hauser & Wirth, London Within and Beyond — Talley Dunn Gallery, Dallas, TX Gianni Motti — Delire Gallery, Brussels Resonant Minds: Abstraction And Perception — Montgomery Art Center, Claremont, CA Pictures of Nothing — The Frances Lehman Loeb Art Center, Poughkeepsie, NY Adventures of truth — Painting and philosophy — Fondation Maeght, Saint - Paul American Collage — Gerald Peters Gallery — New York, New York City, NY Making Their Mark: The New York Fab Five — Gemini G.E.L. at Joni Moisant Weyl, New York City, NY Artzuid — Rijksmuseum, Amsterdam Over, Under, Next: Experiments in Mixed Media, 1913 — present — Hirshhorn Museum and Sculpture Garden, Washington, DC Dynamo Un Siecle De Lumiere Et De Mouvement Dans L'art 1913 - 2013 — Galeries nationales du Grand Palais, Paris S (ch) ichtwechsel!

The Museum of Modern Art, New York, is now showing «Making Space: Women and Postwar Abstraction,» on view on MoMA's 3rd floor through August 13.

Despite this, af Klint's position among her fellow abstract painters is not without its critics, and in the recent Museum of Modern Art show «Inventing Abstraction, 1910 - 1925,» which closed on April 15, none of her works were shown.