Sentences with phrase «radical body of paintings»

This book features new, monumental sculptures by German artist Georg Baselitz (born 1938), in bronze and burnished black, accompanied by a radical body of paintings titled Black Paintings.

Not exact matches

The sudden fusion of these disparate schools of thought and technique would birth a wide body of new works and approaches to painting and sculpture, with artists like Klee and Miró driving forward radical new ideologies in the creation of abstract works.»

The show presented a new body of work — formal studies of the female form, including large, expressive line paintings of the body rendered in blue paint on raw canvas — that marked a radical departure from Emin's vernacular up until that moment.

Comprising fourteen paintings and two works on paper, the exhibition explores a radical, lesser - known body of work, picking up at the very end of the period in Frankenthaler's career treated in Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 at Gagosian West 21st Street, in 2013.

He leaves behind a vast, influential body of work characterized by a radical, conceptual approach to painting.

Drawing from various postwar art movements and developments: Op Art, Washington Color School, Monochrome Painting, as well as European modes of art making, such as Support / Surface and Radical Painting, Mark has created a diffuse, yet particularly American body of work.

Not only does Rauschenberg demonstrate his irresistible formal sensibilities in the body of the painting by using socks and doilies as another artist might use oil and acrylic, but having strutted his formal stuff satisfactorily, the artist crowns his efforts with a mocking, stuffed bird, as if to drive home the casual ease with which this radical gesture was achieved.

Showcasing fourteen of Helen Frankenthaler's paintings, dating from 1959 through 1962, and two earlier works on paper, this beautiful book highlights a radical and lesser - known body of works unique within the artist's oeuvre.

Inspired by Matisse and his cutouts, she started using her shredded paintings as raw materials for a body of powerful, emotive collages, transforming the shreds of her failures into a radical new direction in her oeuvre.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

Featuring fourteen paintings and two works on paper, the expositions explores a radical, lesser - known body of work Frankenthaler has produced in the end of 1950s.

The presentation is the first to focus on Freilicher's paintings from the 1950's; a body of work that critic Fairfield Porter termed «traditional and radical.»

Spanning the First World War to the present day, this exhibition of objects, drawings, films, photographs, paintings and archives from medical museum collections, focuses on analogue augmentation to the body, tracing how artists have addressed radical changes to the very thing humans know best: our bodies.

The outcome was a body of painting with a radical new physiognomy, and stamped with powerfully original feeling.