Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas brings together the works of three singular American artists whose work redefines history
painting in a contemporary context.
Cohen intersects the language of heroic Abstract Expressionism with narrative to re-invent the experience of action
painting in a contemporary context.
Merlin James will be one of the panelists in a discussion about the condition of
painting in its contemporary context and whether the current plurality in painting dilutes meaning, or if it is just a case of many people doing many interesting things.
Not exact matches
As Victoria L. Valentine writes
in an extended preview for Culture Type, «The Seattle Art Museum (SAM) is organizing a major exhibition of three critically recognized African American artists... The exhibition will explore how their distinct approaches to figuration and history
painting have recast the Western canon and challenged perceptions of race and representation
in a
contemporary context.»
Upon closer inspection, the works reveal idiosyncrasies: light sources, perspectives, points of view, croppings, distinguish these
paintings and place them
in a
contemporary context.
But the family is hugely important
in giving me a foundation on which I can start to think through what abstraction has been
in relation to its history — a complicated issue — and what abstract
painting can be
in a
contemporary context.
Quogue Gallery co-owner Chester Murray explained that the motivation behind mounting this exhibition was «to review the 14 shows we've had since opening the gallery — principally
contemporary and abstract photography,
paintings and prints —
in order to put them
in a more global
context.»
«There is a lot of blue and water
in all the works and all the
paintings are deeply rooted
in the
contemporary context, yet somehow speak to the old, to the ancient.
It is our ambition to stress the timelessness of the abstract language
in painting and to create a platform, which allows older works to appear
in a new light and
contemporary compositions to be viewed
in the
context of their influences.
in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust)
in The Observer, 13 May 1984; «Landscapes of the mind»
in The Observer, 24 April 1995 Finch, Liz, «
Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's
Contemporary Clusters Show a Touch of American Influence»
in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at
Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»
Paintings of Hoyland»
in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour»
in The Australian, 19 February 1980 Freke, David, «Massaging the Medium»
in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine»
in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work»
in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street»
in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters»
in The Independent, 7 February 1987; «John Hoyland»
in The Independent, 12 February 1987 Griffiths, John, «John Hoyland:
Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»
Paintings 1967 - 1979»
in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour»
in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark»
in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool»
in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland»
in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann»
in The Guardian, 5 March 1988 Hoyland, John, «
Painting 1979: A Crisis of Function»
in London Magazine, April / May 1979; «Framing Words»
in Evening Standard, 7 December 1989; «The Famous Grouse»
in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye»
in The Guardian, 16 October 1979; «Last Chance»
in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize»
in The Guardian, 11 February 1987; «The Circles of Celebration»
in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter»
in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die»
in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition»
in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality
in the Pictorial Structure»
in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever»
in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland»
in Sunday Times, 7 May 1970; «Waiting for the click...»
in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland»,
in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract»
in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist»
in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair»
in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess»
in Time Out, September 1978 Marle, Judy, «Histories Unfolding»
in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards»
in Studio International, May / June 1975 McCullach, Alan, «Seeing it
in Context»
in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law»
in The Spectator, 15 November 1975; «Momentum»
in The Spectator, 23 October 1976; «John Hoyland
in mid-career»
in Arts Canada, April 1977; «Abstraction»
in The Spectator, 23 September 1978; «4 British Artists»
in Artforum, March 1979; «Undercurrents»
in The Spectator, 24 October 1981; «Flying Colours»
in The Spectator, 4 December 1982; «John Hoyland, new
paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»
paintings»
in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions»
in Sunday Times, 18 December 1984; «Britain's Best and Brightest»
in Art
in America, July 1987; «Landscapes of the Mind»
in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint»
in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours»
in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters»
in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition»
in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.
Mahlangu is the most renowned artist of South Africa's Ndebele people, and she has developed the art of mural
painting from a tradition of designs
painted on the exterior of rural homes to projects created
in a global,
contemporary art
context.
The publication is a study of Abts»
paintings and drawings
in the
context of
contemporary art and the history of abstraction.
In the
context of
contemporary painting, Larmon's work can be seen as linking two related practices.
Despite O'Doherty's debunking of this
context, the white cube mode of exhibiting continues to underpin much exhibition - making
in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street
in New York) to websites such as
Contemporary Art Daily that tend to privilege the flattened picture surfaces of post-minimalist
paintings, which look good filtered through the even light of a laptop screen.
Of course, none of these shows were meant to be the last word on
contemporary painting, but as the most recent word on
painting at these rather prominent regional institutions it would behoove them to extend themselves towards
contemporary art
in a global
context, rather than
contemporary as defined by major Western cities.
The influence of Guston's work,
in particular his late
paintings, continues to «cast a long shadow over the current landscape of
contemporary art,» as Peter Benson Miller acknowledges
in his recent publication.1 Because Guston was one of the few American painters to «defect» to Europe — both by undertaking numerous residencies, as well as departing from the quintessential Postwar «American style» — his significance is especially pertinent within a
contemporary European
context.
GEORGE DEEM (1932 - 2008) George Deem is best known for referencing the history of
painting by re-imagining Old Master works
in a
contemporary context.
Painting Across and Beyond Disciplines, Til Now:
Contemporary Art
in Context, Animal Farm, Balance and Flow, and Memory Web.
But it is impossible to place a show like this
in its ideal
context; instead, we must look at the complexity of the show as an additional effort to present and understand the complicated — and sometimes merely imagined — relations between Eastern and Western
contemporary painting.
From 1985 -1993, Judy Chicago and Donald Woodman worked on the Holocaust Project: From Darkness into Light, a journey into the darkness of the Holocaust which resulted
in an exhibition that combined
painting and photography to explore the meaning of the Holocaust
in a
contemporary context.
Despite the obvious references, Still resisted having his
paintings seen
in the
context of nature... What truly sets Still apat from his
contemporaries and indeed from most artists is his awe - inspiring spatial relationships,» the catalogue noted.
Taking Michael H. Miller's post of images from the 1978 New Museum exhibition Bad
Painting as a catalyst, Sharon Butler asks if the label should be revisited in a contemporary context with «some specific examples, because the changing nature of what we consider bad painting is a fascinating subject for a good dis
Painting as a catalyst, Sharon Butler asks if the label should be revisited
in a
contemporary context with «some specific examples, because the changing nature of what we consider bad
painting is a fascinating subject for a good dis
painting is a fascinating subject for a good discussion.
Collection, Cornell Fine Arts Museum, Orlando, FL Commemorating 30 Years (1976 — 2007): Part Three (1991 — 2007), Rhona Hoffman Gallery, Chicago, IL The Blake Byrne Collection, The Nasher Museum of
Contemporary Art, Duke University, Durham, NC 2006 Do Not Stack, Roberts & Tilton, Los Angeles, CA Black Alphabet:
ConTEXTS of
Contemporary African - American Art, Zacheta, National Gallery of Art, Warsaw, Poland Down By Law, Wrong Gallery at the Sondra Gilman Gallery, Whitney Museum, New York, NY Hangar — 7 Edition 4, Salzburg Airport, Salzburg, Austria Redefined: Modern and
Contemporary Art from the Collection, Corcoran Gallery of Art, Washington, D.C. Relics and Remnants, Jamaica Center for Arts and Learning, Jamaica, NY 2005 Maximum Flavor, ACA Gallery, Atlanta College of Art, Atlanta, GA Neo-Baroque, Tema Celeste, Verona, Italy Neovernacular, Turner Gallery, Los Angeles, CA Kehinde Wiley / Sabeen Raja: New
Paintings, Conner
Contemporary Art, Washington, D.C. 2004 Eye of the Needle, Roberts & Tilton, Los Angeles, CA Glory, Glamour & Gold, The Proposition, New York, NY She's Come Undone, Greenberg Van Doren, New York, NY The New York Mets and Our National Pastime, Queens Museum of Art, Queens, NY Beauty, Kravets + Wehby, New York, NY African American Artists
in Los Angeles, A Survey Exhibition: Fade, City of Los Angeles Cultural Affairs Department, Los Angeles, CA 2003 Peripheries Become the Center, Prague Biennale 1, Galleria Nazionale Veletrzni Palac Dukelskych Hrdinu 47, Prague, Czech Republic Superreal, Marella, Milan, Italy New Wave, Kravets Wehby Gallery, New York, NY Re: Figure, College of DuPage, The Guhlberg Gallery, Glen Ellyn, IL 2002
Painting as Paradox, Artists Space, New York, NY Mass Appeal, Gallery 101, Ottawa, Canada Ironic / Iconic, The Studio Museum of Harlem, New York, NY Black Romantic, The Studio Museum of Harlem, New York, NY 2001 It's Bigger Than Hip Hop, Rush Arts, New York, NY
Early this winter, I was asked to discuss the
painting,
in the
context of feminist activism,
in an interview with Jade French for a new arts publication,
Contemporary Zine, launched at the Institute of
Contemporary Arts
in London.
Lien Truong's
paintings examine social, cultural, and political history, exploring the influences that bind the formation of
contemporary identity and belief systems
in a transcultural
context.
The most significant of the often loosely defined movements of early
contemporary art included pop art, characterized by commonplace imagery placed
in new aesthetic
contexts, as
in the work of such figures as Andy Warhol and Roy Lichtenstein; the optical shimmerings of the international op art movement
in the
paintings of Bridget Riley, Richard Anusziewicz, and others; the cool abstract images of color - field
painting in the work of artists such as Ellsworth Kelly and Frank Stella (with his shaped - canvas innovations); the lofty intellectual intentions and stark abstraction of conceptual art by Sol LeWitt and others; the hard - edged hyperreality of photorealism
in works by Richard Estes and others; the spontaneity and multimedia components of happenings; and the monumentality and environmental consciousness of land art by artists such as Robert Smithson.
Drawing from classical
painting and architecture, the
contemporary urban landscape, and popular culture, Scheibitz deconstructs and recombines signs, images, shapes, and architectural fragments
in ways that challenge traditional
contexts and interpretations.
In New York City, be sure to see: «The Big Picture» at Sikkema Jenkins (featuring NAP alums John Dilg and David Schutter); «Breed» at Greenberg Van Doren Gallery (featuring NAP alum Eddie Martinez); «Stretching Painting» at Galerie Lelong (featuring NAP alums Sarah Cain, Kate Shepherd, and emerging Chicago - based artist, Gabriel Pionkowski); «Contemporary Watercolor» at Morgan Lehman (featuring NAP alums Nina Bovasso, Sarah Cain, Ellen Lesperance and Kim McCarty); «Yeah we are friends and shit» at Josee Bienvenu Gallery (featuring NAP alums Kirk Hayes and Devin Troy Strother); «Stand still like a hummingbird» at David Zwirner (featuring NAP alum Ruth Laskey); «In plain sight» at Mitchell - Innes and Nash (featuring NAP alum Anna Conway); «Everyday Abstract - Abstract Everyday» at James Cohan Gallery; «Painting in Space» at Luhring Augustine; «Context Message» at Zach Feuer; «Hot Tub Time Machine» at Canada; and «Braman, Buren, Falls, Heilmann, Louis, Thurman» at Eleven Rivingto
In New York City, be sure to see: «The Big Picture» at Sikkema Jenkins (featuring NAP alums John Dilg and David Schutter); «Breed» at Greenberg Van Doren Gallery (featuring NAP alum Eddie Martinez); «Stretching
Painting» at Galerie Lelong (featuring NAP alums Sarah Cain, Kate Shepherd, and emerging Chicago - based artist, Gabriel Pionkowski); «
Contemporary Watercolor» at Morgan Lehman (featuring NAP alums Nina Bovasso, Sarah Cain, Ellen Lesperance and Kim McCarty); «Yeah we are friends and shit» at Josee Bienvenu Gallery (featuring NAP alums Kirk Hayes and Devin Troy Strother); «Stand still like a hummingbird» at David Zwirner (featuring NAP alum Ruth Laskey); «
In plain sight» at Mitchell - Innes and Nash (featuring NAP alum Anna Conway); «Everyday Abstract - Abstract Everyday» at James Cohan Gallery; «Painting in Space» at Luhring Augustine; «Context Message» at Zach Feuer; «Hot Tub Time Machine» at Canada; and «Braman, Buren, Falls, Heilmann, Louis, Thurman» at Eleven Rivingto
In plain sight» at Mitchell - Innes and Nash (featuring NAP alum Anna Conway); «Everyday Abstract - Abstract Everyday» at James Cohan Gallery; «
Painting in Space» at Luhring Augustine; «Context Message» at Zach Feuer; «Hot Tub Time Machine» at Canada; and «Braman, Buren, Falls, Heilmann, Louis, Thurman» at Eleven Rivingto
in Space» at Luhring Augustine; «
Context Message» at Zach Feuer; «Hot Tub Time Machine» at Canada; and «Braman, Buren, Falls, Heilmann, Louis, Thurman» at Eleven Rivington.
His
painting, prints and installations are inspired by music and explore the use of colour
in a
contemporary context.
Color for Painters, Beginning Figure
Painting, Intermediate Figure
Painting: Figure
in Context,
Contemporary Portrait
Painting, Design Concepts, Beginning Figure Drawing, Teen Intensive Program:
Contemporary Studio and Portfolio Development.
In this exhibition, over eighty paintings and drawings from Stanley Spencer are placed in an art historical context by including twenty works of English contemporaries such as Lucian Freud and Dora Carringto
In this exhibition, over eighty
paintings and drawings from Stanley Spencer are placed
in an art historical context by including twenty works of English contemporaries such as Lucian Freud and Dora Carringto
in an art historical
context by including twenty works of English
contemporaries such as Lucian Freud and Dora Carrington.
Several of the artists represented
in the exhibition studied and / or worked
in Spain, or were influenced by Spanish art
in other ways; seeing their
paintings in the
context of the Meadows» collection of Spanish art, especially those works from the same period, will enable visitors to detect early European influences, and understand how many of these Mexican artists later began to forge their own artistic path distinct from their European
contemporaries.
Illuminated Geographies explores how
contemporary miniaturist
painting is evolving from its roots
in Mughal
painting, as it is brought into different
contexts and its stylistic foundation is adapted through different artistic visions.
Using colorful skeins of upcycled ribbon, clothing and fabric, her unconventional
paintings engage gender roles and handicrafts
in a
contemporary context.
When each blip is appreciated for its individual, segmented surface qualities they display abstract expressionist tendencies, marking a seminal tabula rasa
in the
context of Modern
painting, also evinced by Zero's
contemporaries, including Gajin Fujita, Takashi Murakami and Barry McGee.
Kembry's still life
paintings focus on the expressive and abstract qualities of colour and formal composition
in both an historical and a
contemporary context.
Within this anodyne
context, the show's organizers — Stuart Comer, chief curator of media and performance art at the Museum of Modern Art; Anthony Elms, an artist and associate curator at the Institute of
Contemporary Art
in Philadelphia; and Michelle Grabner, also an artist and professor of
painting and drawing at the School of the Art Institute of Chicago — have made some interesting choices, pulled
in some new faces and shaped three quite different shows.
His current work deals with the
contemporary socio - political
context and an identity
in varied mediums from the daily newspapers to photographs,
paintings, and other experimental mediums.
If Anderson's
paintings have
contemporary affinities
in practices (especially with that of Peter Doig, his former teacher), the theoretical
contexts they summon are well - rooted —
in particular those teleological forecasts about the relationship between his chosen genres as articulated by critics including Kenneth Clark and Clement Greenberg; the latter wrote,
in 1949, of the evolutionary conundrum whereby French
painting «was brought to the verge of abstraction
in and by its very effort to transcribe visual experience with ever greater fidelity.»
Speakers will present their
contemporary perspectives on the role of
painting in art today; the anthropological, psychological and ethnographic content that Freud's work elicits and, revisit post-war art
contexts and Freud's lesser known relationship to Ireland, that included a creative network of other artists and writers.
At the combined ADAA booth of Van Doren Waxter and 11R, Sterne will be shown
in a more
contemporary context; works from her series of spray -
painted abstractions will be exhibited alongside new
paintings on Plexiglas by Mika Tajima, who uses a similar technique to very different effect.
«Ernest C Withers and Glenn Ligon: I Am A Man Teaching Galleries One and Two,»
Contemporary Art Museum St Louis, MO, January 20 — March 28, 2006 «Down by Law, curated by The Wrong Gallery,» Whitney Museum of American Art, New York, NY, January 21 — May 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 6 — September 24, 2006 «Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards,» American Academy of Arts and Letters, New York, NY, May 19 — June 12, 2006 «Legacies: Contemporary Artists Reflect on Slavery,» New - York Historical Society, New York, NY, June 16, 2006 — January 7, 2007; catalogue «The Past Made Present: Contemporary Art and Memory,» Museum of Fine Arts, Houston, TX, September 2, 2006 — January 15, 2007 «Group Dynamic: Portfolios, Series, and Sets,» Des Moines Art Center, Des Moines, IA, September 15 — December 29, 2006 «black alphabet: conTEXTS of contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1 Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — Febru
Contemporary Art Museum St Louis, MO, January 20 — March 28, 2006 «Down by Law, curated by The Wrong Gallery,» Whitney Museum of American Art, New York, NY, January 21 — May 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 6 — September 24, 2006 «Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards,» American Academy of Arts and Letters, New York, NY, May 19 — June 12, 2006 «Legacies:
Contemporary Artists Reflect on Slavery,» New - York Historical Society, New York, NY, June 16, 2006 — January 7, 2007; catalogue «The Past Made Present: Contemporary Art and Memory,» Museum of Fine Arts, Houston, TX, September 2, 2006 — January 15, 2007 «Group Dynamic: Portfolios, Series, and Sets,» Des Moines Art Center, Des Moines, IA, September 15 — December 29, 2006 «black alphabet: conTEXTS of contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1 Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — Febru
Contemporary Artists Reflect on Slavery,» New - York Historical Society, New York, NY, June 16, 2006 — January 7, 2007; catalogue «The Past Made Present:
Contemporary Art and Memory,» Museum of Fine Arts, Houston, TX, September 2, 2006 — January 15, 2007 «Group Dynamic: Portfolios, Series, and Sets,» Des Moines Art Center, Des Moines, IA, September 15 — December 29, 2006 «black alphabet: conTEXTS of contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1 Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — Febru
Contemporary Art and Memory,» Museum of Fine Arts, Houston, TX, September 2, 2006 — January 15, 2007 «Group Dynamic: Portfolios, Series, and Sets,» Des Moines Art Center, Des Moines, IA, September 15 — December 29, 2006 «black alphabet:
conTEXTS of
contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1 Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — Febru
contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1
Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — Febru
Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go
in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of
Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — February 11, 2006
(catalogue) Persona, The Renaissance Society at the University of Chicago, Chicago, IL; Kunsthalle Basel, Basel Switzerland 1995 It's How You Play The Game, Exit Art, New York; curated by Thelma Golden, Nancy Spector, Robert Storr, Jeanette Ingberman and Papo Colo Strung Into the Appolonian Dream... an exhibition of a private collection, Feature, NYC, NY Seven Llongish Wodden Sculptures, Feature, New York, NY 1994 The Ecstasy of Limits, Gallery 400, School of Art and Design, UIC, Chicago, IL Amenities, Frederick Layton Gallery, Milwaukee Institute of Art and Design, Milwaukee 1993 A Sequence of Forms: Sculpture by Illinois Artists, Chicago Cultural Center, Chicago, IL Mettlesome & Meddlesome: Selections from the Collection of Robert J. Shiffler,
Contemporary Arts Center, Cincinnati, OH; Urbana - Champaign, IL; I Space, University of Urbana - Champaign Gallery, Chicago, IL 1992 Drawing New Conclusions, Betty Rymer Gallery, The School of the Art Institute of Chicago, Chicago, IL 1991 Office Party, (March) Feature, New York, NY Power: Its Icons, Myths and Structure
in American Culture 1961 - 1991, Museum of Fine Art, Richmond VA: curated by Holliday T. Day (catalogue) 1990 Toward the Future
Contemporary Art
in Context, Museum of
Contemporary Art, Chicago Awards
in the Visual Arts, New Orleans Museum of Art, New Orleans, LA; Southeastern The Thing Itself, Feature, New York, NY (brochure) New Generations Chicago, Carnegie Mellon Art Gallery, Carnegie Mellon University, Pittsburgh, PA; curated by Elaine A. King (catalogue) Half - Truths, The Parrish Art Museum, Southhampton, NY; curated by Marge Goldwater 1989 On Kawara: Date
Paintings 1966 - 1988, The Renaissance Society at the University of Chicago, Chicago, IL Signs of Life:
Contemporary American Sculpture, Fundacao Calouste Gulbenkian; Fundacao Luso - Americana Para O Desenvolvimento, Lisbon, Portugal; curated by Judith Russi Kirshner.
«Shades of Black (ness),» Davison Art Center, Wesleyan University, Middletown, CT, January 25 — March 3, 2005 «Collection Remixed,» The Bronx Museum of the Arts, Bronx, NY, February 3 — June 5, 2005; catalogue «Landscape,» Whitney Museum of American Art, New York, NY, March 24 — September 18, 2005 «The Shape of Time,» Walker Art Center, Minneapolis, MN, April 17, 2005 — October 25, 2009 «Very Early Pictures,» Luckman Gallery, California State University, Los Angeles, CA, May 26 — July 23, 2005; traveled to Arcadia University Gallery, Glenside, PA, September 6 — October 30, 2005 «African American Art: Masterworks of
Contemporary Art,» Saint Louis Art Museum, St. Louis, MO, June 24 — August 28, 2005 «Wordplay: Text and Image from 1950 to Now,» Davison Art Center, Wesleyan University, Middletown, CT, October 25 — December 11, 2005 «The
Painted Word: Language as Image
in Modern Art,» Williams Center for the Arts Gallery, Lafayette College, Easton, PA, October 28 — December 14, 2005; brochure «Between Image and Concept: Recent Acquisitions
in African American Art,» Princeton University Art Museum, Princeton, NJ, November 12, 2005 — February 6, 2006 «Beauford Delaney
in Context: Selections from the Collection,» Philadelphia Museum of Art, Philadelphia, PA, November 13, 2005 — February 26, 2006 «A Brief History of Invisible Art,» CCA Wattis Institute for
Contemporary Arts, San Francisco, CA, November 30, 2005 — February 21, 2006 «Linkages and Themes
in the African Diaspora,» Museum of the African Diaspora, San Francisco, CA, December 1, 2005 — March 12, 2006 «Looking at Words: The Formal Presence of Text
in Modern
Contemporary Works on Paper,» conceived by Barbaralee Diamonstein - Spielvogel, Andrea Rosen Gallery, New York, NY, October 28, 2005 — January 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 9, 2005 — September 26, 2006 «Drawing from the Modern, 1975 - 2005,» Museum of Modern Art, New York, NY, September 14, 2005 — January 9, 2006 «ROMANCE (a novel),» curated by Adriano Pedrosa, Cristina Guerra
Contemporary Art, Lisbon, Portugal, September 14 — October 15, 2005; catalogue «A Thousand Words,» Inman Gallery, Houston, TX, July 9 — August 27, 2005 «Getting Emotional,» Institute of
Contemporary Art, Boston, MA, May 18 — September 5, 2005 «Double Consciousness: Black Conceptual Art Since 1970,» organized by Valerie Cassel Oliver,
Contemporary Arts Museum, Houston, TX, January 22 — April 17, 2005
In the context of the proliferation of photography, film, and new media in contemporary culture, the exhibition showcases the variety of styles and strategies artists have engaged to breathe new life into painting and to explore the medium's expansive possibilitie
In the
context of the proliferation of photography, film, and new media
in contemporary culture, the exhibition showcases the variety of styles and strategies artists have engaged to breathe new life into painting and to explore the medium's expansive possibilitie
in contemporary culture, the exhibition showcases the variety of styles and strategies artists have engaged to breathe new life into
painting and to explore the medium's expansive possibilities.
Today, her abstract
paintings,
in the
context of
contemporary art and culture, are defiant.
In the work Corsair, a visible reference to a specific, almost mythical aircraft is established in the context of contemporary art as motif, and the painting becomes a field where a current interest in blue finds a childhood fascination with a specific visual memory and plants it solely in an art contex
In the work Corsair, a visible reference to a specific, almost mythical aircraft is established
in the context of contemporary art as motif, and the painting becomes a field where a current interest in blue finds a childhood fascination with a specific visual memory and plants it solely in an art contex
in the
context of
contemporary art as motif, and the
painting becomes a field where a current interest
in blue finds a childhood fascination with a specific visual memory and plants it solely in an art contex
in blue finds a childhood fascination with a specific visual memory and plants it solely
in an art contex
in an art
context.
In «Lesley Vance and Ricky Swallow,» the artists» contemporary work is placed in the context of the gallery's Old Master paintings, Renaissance bronzes, 18th - century French decorative arts, and British grand manner portrait
In «Lesley Vance and Ricky Swallow,» the artists»
contemporary work is placed
in the context of the gallery's Old Master paintings, Renaissance bronzes, 18th - century French decorative arts, and British grand manner portrait
in the
context of the gallery's Old Master
paintings, Renaissance bronzes, 18th - century French decorative arts, and British grand manner portraits.
Looking at Brown's
paintings in the
context of today, I am struck by how the work is California cool by all
contemporary standards.
Turner Monet Twombly will allow Turner and Monet to be seen within a
contemporary context, while demonstrating the strong lure of classicism
in the
painting and sculpture of Twombly.