Sentences with phrase «painting stained abstractions»

When I began to show my work with David Whitney in 1969, I was painting stained abstractions, bordered by bands of color painted on the edges.

Not exact matches

When Poons, always a great colorist, stained over his ellipse paintings in 1968 he achieved some of the most beautiful, free spirited and innovative abstractions of the decade.

«Through his ties with leading modernists on both side of the Atlantic, Hoyland is a pivotal figure in 20th - century abstraction and the stain paintings from this period, many of which have never been publicly exhibited outside of London, are ripe for rediscovery and new understanding.»

The Newport Street exhibition is the first major show since Hoyland's death in 2011 and will reaffirm his status as an important and innovative force within international abstraction, providing new insights into the way in which his work evolved from the huge colour - stained canvases of the 1960s, through the textured surfaces of the 1970s to the more spatially complex paintings of the early 1980s.

It seems only fair, then, that abstraction has had a resurgence — but with no end of riffs on imagery, photography, stains, poured paint, trompe l'oeil, and signs and symbols.

This covered a number of movements, from stain painting (just what it says) to systemic painting (most famously Josef Albers, who reduced his work to a series of coloured squares, one inside another), minimal painting (such as that of Agnes Martin, obituary, January 10) and hard edge abstraction.

Peter Schjeldahl writes in the October 9th, 2017 issue of The New Yorker, «The happiest surprise in Trigger is a trend in painting that takes inspiration from ideas of indeterminate sexuality for revived formal invention... Christina Quarles... rhymes ambiguous imagery of gyrating bodies with dynamics of disparate pictorial techniques... The wholes and parts of bodies in Quarles's cheerfully orgiastic pictures entangle in alternating styles of line, stroke, stain, and smear... called to mind early nineteen - forties Arshile Gorky and Willem de Kooning, who fractured Picassoesque figuration on the way to physically engaging abstraction... Quarles playing that process in reverse, adapting abstract aesthetics to carnal representation.

Moving from the early Abstract Expressionist paintings of Dusti Bongé and Marie Hull to the contemporary works of Bonnie Maygarden and and Shawne Major, this exhibition includes work that ranges from the early minimalist compositions of Ida Kohlmeyer to the fresh abstract spaces of Ashley Teamer; from the stained surfaces of Dorothy Hood and Anastasia Pelias to the biomorphic abstractions of MaPo Kinnord and Shawn Hall.

Breathing luminous color and varying in media from stain paintings to digitally controlled light emitting diodes, this select gathering of abstract images showcases Lyrical Abstraction as -LSB-...]

Stained Color Field Abstraction was pioneered by Helen Frankenthaler.She diluted her paints and poured them onto canvases often lying on a floor or table.

The paintings include large, textured, stained, all - over canvas creations like Schwabacher's Antigone I, from 1958, a 51 x 82 1/4 inch canvas of blood red, ochre, black, blue, gray and white markings that is a figurative abstraction of the Greek myth.

Impressed by the «stain» paintings of Morris Louis, Noland developed a pictorial language of spare, often bright abstraction centered on concentric circles and repeated chevrons, motifs that he would utilize throughout his career.

Understood as an umbrella under which hard - edge painting, color stain painting, lyrical abstraction, and minimal painting stood, post-painterly abstraction introduced a more logical and systematic approach to creativity.

«Color: Stained, Brushed and Poured» brings together several artists whose enquiries into color theory and paint application revolutionized the course of abstraction in America.

Ligon, who based his ongoing «Stranger» series around this essay, documents the smudges of paint, oil stains, and fingerprints that have accumulated on his copy throughout his career, which he considers a «palimpsest of accumulated personal histories that suggests... a new strategy in his ongoing exploration of the interplay between language and abstraction,» according to a press release.

Gilliam's red, blue, and green watercolor, Parade VII, employs color through staining; Thompson's humorous oil painting, The Golden Ass, features a more traditional application; McArthur Binion uses crayon and collage elements in his 2016 brown abstraction, DNA: Sepia II; Nathaniel Mary Quinn's Mean Ol' Teacher uses color as a way to bridge abstraction and figuration in a collaged face made up of many different harlequin features.

This show of vintage sewn and stained paintings demonstrated that Al Loving, who died in 2005, was not only one of the most radical painter - deconstructionists but also the one who most fully embraced the sensual potential of off - the - stretcher abstraction.

Among the dominant trends in the Post-Painterly Abstraction are Hard - Edged Painters such as Ellsworth Kelly and Frank Stella who explored relationships between tightly ruled shapes and edges, in Stella's case, between the shapes depicted on the surface and the literal shape of the support and Color - Field Painters such as Helen Frankenthaler and Morris Louis, who stained first Magna then water - based acrylic paints into unprimed canvas, exploring tactile and optical aspects of large, vivid fields of pure, open color.

In a reaction to the all - over, process oriented abstraction of the midcentury, Landfield painted his abstractions from nature, incorporating an horizon as he used random effects of pouring and staining.

Sprayed, brushed, flung, dribbled, puddled, taped, stained, poured, gestural, geometric, organic and more, with some of it on independent surfaces she attached to the wall, the painting is a virtual lexicon of modern abstraction.

These individual styles included: Hard - Edge Painting, Colour Stain Painting, Washington Colour Movement, American Lyrical Abstraction, and Shaped Canvas.

Hard - edge painting was only one of them: others included Colour Field, Colour Stain Painting, Op Art, Washington Colour Painting, «One - Image painting», «Systemic painting» (Josef Albers), Lyrical Abstraction, Bay Area Figuration and Minimal Ppainting was only one of them: others included Colour Field, Colour Stain Painting, Op Art, Washington Colour Painting, «One - Image painting», «Systemic painting» (Josef Albers), Lyrical Abstraction, Bay Area Figuration and Minimal PPainting, Op Art, Washington Colour Painting, «One - Image painting», «Systemic painting» (Josef Albers), Lyrical Abstraction, Bay Area Figuration and Minimal PPainting, «One - Image painting», «Systemic painting» (Josef Albers), Lyrical Abstraction, Bay Area Figuration and Minimal Ppainting», «Systemic painting» (Josef Albers), Lyrical Abstraction, Bay Area Figuration and Minimal Ppainting» (Josef Albers), Lyrical Abstraction, Bay Area Figuration and Minimal PaintingPainting.

The David Richard Gallery is presenting «Color: Stained, Brushed and Poured» bringing together several artists whose enquiries into color theory and paint application revolutionized the course of abstraction in America.

Her work has been featured in numerous group exhibitions including: An Irruption of the Rainbow, Los Angeles County Museum of Art, Los Angeles, CA (2016); Wall to Wall, MOCA Cleveland, Cleveland, OH (2016); Pretty Raw: After and Around Helen Frankenthaler, Rose Art Museum, Waltham, MA (2015); Three Graces, Everson Museum of Art, Syracuse, NY (2015); Pathmakers: Women in Art, Craft and Design, Midcentury and Today, Museum of Art and Design, New York (2015); AMERICANA: Formalizing Craft, Perez Art Museum Miami, Miami, FL (2013); Regarding Warhol: Sixty Artists, Fifty Years, Metropolitan Museum of Art, New York, (2012); Lines, Grids, Stains, and Words (2008), Comic Abstraction (2007), and Sense and Sensibility: Women and Minimalism in the 90's (1994) all at the Museum of Modern Art, New York; Extreme Abstraction, Albright - Knox Art Gallery, Buffalo, (2005); As Painting: Division and Displacement, Wexner Center for the Arts, Columbus, OH, (2002); Operativo, Museo Rufino Tamayo, Mexico City, (2001).

As an artist who has been variously described as «the new Turner» and «Europe's answer to Mark Rothko», the show will reaffirm Hoyland's status as an important and innovative force within international abstraction and provide new insights into the way in which Hoyland's work evolved from the huge colour - stained canvases of the 1960s, through the textured surfaces of the 1970s to the more spatially complex paintings of the 1980s.

His oeuvre includes early modernist works, geometric abstractions, drip paintings, stain paintings and abstract expressionist works.

We can cite pasted newspaper in Braque and Picasso collages, painted paper in a Matisse découpage, the painterly poured line of Pollock's classic abstractions... For Morris Louis the staining technique was such a breakthrough» (E.A. Carmean Jr., Morris Louis: Major Themes & Variations, exh.

Frankenthaler had become a creator of a new kind of abstraction which became known as Color Field painting, using stains and color to seep into the canvas.

The styles embraced by this term include Hard - Edge Painting, illustrated by the works of abstract painters like Al Held (b. 1928), Ellsworth Kelly (b. 1923), Frank Stella (b. 1936), and Jack Youngerman (b. 1926); Colour Stain Painting, exemplified by Helen Frankenthaler (b. 1928), Joan Mitchell (1926 - 92), and Jules Olitski (b. 1922); Washington Colour Painters, such as Gene Davis (1920 - 85), Morris Louis (1912 - 62) and Kenneth Noland (b. 1924); Systemic Painting, which covered the work of Josef Albers (1888 - 1976), Ad Reinhardt (1913 - 67), as well as Stella and Youngerman; Lyrical Abstraction, including works by Mark Tobey (1890 - 1976), Frankenthaler and others; Colour Field Painting, illustrated by the works of pioneers Barnett Newman (1905 - 70), Mark Rothko (1903 - 70), Clyfford Still (1904 - 80), and Hans Hofmann (1880 - 1966), as well as Frankenthaler, Noland, Stella, Olitski, Morris Louis, Ellsworth Kelly and Richard Diebenkorn (1922 - 93); and Minimal Painting which referred to pictures by Robert Mangold (b. 1937), Agnes Martin (1912 - 2004), Brice Marden (b. 1938), and Robert Ryman (b. 1930).

More importantly, she developed a body of work — as the three paintings in her exhibition at THEODORE: Art make readily apparent — that stood in thoughtful and thorough opposition to the aesthetic attitudes — by - then widely upheld, institutionally sanctioned, particularly as they concerned abstraction — that emphasized particular techniques (staining), the historical necessity of flatness, and a literal (or anti-associational) mindset — all of which could be summed by Frank Stella's terse dictum, «What you see is what you see.»

Stains of hot pink acrylic and splattered globs of red paint — formal strategies associated with Sam Gilliam's Washington Color School abstraction — gain symbolic resonance when viewed in light of this work's title, alluding to Dr. Martin Luther King Jr. «s assassination on April 4, 1968.

In the catalog essay to Reinventing Abstraction, Rubinstein puts it this way: «Around 1980, a generation of artists who had been involved in the radical strategies of the»70s rediscovered the possibilities of painting on stretched canvas, and working with oil paint... applying paint with a brush instead of spraying or folding or pouring or staining.

She may obliterate part of a field of shocking rosy marker loops with diluted paint (echoing both Helen Frankenthaler and her «soak stain» kindred, plus more recently Matt Connors» meta - minded abstraction).