Sentences with phrase «scale abstractions by»

A series of early totemic, large - scale abstractions by Al Held are on view at Cheim & Read.

Not exact matches

LOS ANGELES — Curated by Kristina Kite and Sarah Lehrer - Graiwer, the artists and works in About Face employ ideas of scale, zoom, and cropping to complicate figuration and portraiture in relation to abstraction.

Soon came her large - scale geometric abstractions, activated by materials that reach across time and space: egg tempera and gold leaf on gessoed panels, the tools of her beloved Italian masters.

Wondrous those carefully built - up compilations by Gilbert and George; Wolfgang Tillmans» fluid abstractions; Louise Lawler's reworked images scaled up to murals or down to paperweights to give them multiple lives; Ahmed Mater's manipulated landscapes, reimagined and rephotographed to suggest an irretrievable paradise, and Richard Koci Hernandez's iPhone scenarios that sliced off surreal takes on an ordinary day.

This group show features small scale early American abstractions by: Burgoyne Diller, Werner Drewes, Albert E. Gallatin, Balcomb Greene, Gertrude Greene, Carl Holty, George L.K. Morris, Irene Rice Pereira, Rolph Scarlett, Louis Schanker, Charles Shaw, Louis Stone, Charmion von Wiegand and Vaclav Vytlacil.

This exhibition present new large - scale painting and sculpture which feature exuberant pop references mixed with painterly abstraction and stoic minimalism, unified by the over-arching motif of funerary form.

This week David Zwirner dedicated his spacious booth to a solo presentation of work by German photographer Thomas Ruff dominated by the artist's notorious «supernudes,» blurry, large - scale photos of hard - core pornography that straddle the line between abstraction and graphic figuration.

Indicative of his mature style and inspired by a hugely productive stay in the Italian town of Voltri near Genoa in 1962, Voltron XXIV (above), which is offered from the collection, exhibits the artist's interest in geometric abstraction on a large scale.

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.

Commissioned in the summer of 1943 by Peggy Guggenheim for her New York townhouse, Muralestablished a new sense of scale and audacity for the Abstract Expressionist movement, anticipating the classic «poured» abstractions that Pollock would begin four years later.

The result is an exhibition where variety in scale, medium, and degree of abstraction is balanced by the strong continuity among all the works — a reliance on automatism, a juxtaposition of unexpected elements and conflicting temporalities, and the presence of organic forms — bringing to light the profound impact surrealism had on pre - and post-war American artists.

Stella wrote, «It is the legacy of Caravaggio's space and Caravaggio's illusionism that tipped the scales decisively in favor of abstraction by the middle of the twentieth century.»

Late to commit to producing art full - time, Thomas nevertheless quickly developed an original and dynamic style characterized by large - scale abstractions comprised of rhythmic, repeated marks of vibrant color.

Since the advent of Abstract Expressionism followed by Post-painterly Abstraction in the mid-twentieth century, painters and other artists have been liberated to explore large - scale abstraction through expressive gestures, geometric forms, biomorphic shapes, minimal palettes, or newAbstraction in the mid-twentieth century, painters and other artists have been liberated to explore large - scale abstraction through expressive gestures, geometric forms, biomorphic shapes, minimal palettes, or newabstraction through expressive gestures, geometric forms, biomorphic shapes, minimal palettes, or new materials.

In his large - scale oil painting Mother Tongue (2013), a hybrid geometric and gestural abstract work, Gerber has been informed by French lyrical abstraction, more precisely the calligraphic style of the German born painter Hans Hartung (1904 - 1989).

In the 1970s young British stained - glass artists such as Brian Clarke were influenced by the large scale and abstraction in German twentieth - century glass.

Driven by emotion the central tension in much of the work lies in the play between dark and light, whether that be in explorations with color and abstraction or in large - scale landscape paintings.

Flirting with Abstraction brings together some seventy - five works by Philadelphia artists who have used the language of abstraction — color, line, texture, scale, and form — to express the ideas, emotions, and sensuality of life's eAbstraction brings together some seventy - five works by Philadelphia artists who have used the language of abstraction — color, line, texture, scale, and form — to express the ideas, emotions, and sensuality of life's eabstraction — color, line, texture, scale, and form — to express the ideas, emotions, and sensuality of life's experiences.

Faiz continues this tradition with her large - scale oil painting «Divider» (2015), by combining post-painterly abstraction with Albert Oehlen's version of abstract art, an aversion away from recognisable forms.

The pairing also highlights the different ways of representing the sublimity of the surrounding world, whether through a large representational closeup of an immense wave, or by way of the small - scale, quiet abstraction of a deep blue rectangle framed by fields of white.

At the forefront of this new paradigm was HALE WOODRUFF, whose integration of African - design motifs into his colorful, large - scale canvases stood alongside an enigmatic and symbol - laden painterly abstraction in works by other painters.

In «Brainwaves and Archetypes, The Sculpture of Strong - Cuevas,» Donald Kuspit posits Stong - Cuevas» sculptures as «cosmically open and epic in scale or hermetically enclosed and intimate in scale, whether constructions or cast in bronze, whether involving single or multiple heads, fuse the modernist traditions of primitivist expression and pure abstraction, confirming their originality by reconciling the opposites.

Housed in one of the side wings of the mansion the collection focuses more on American Abstract Expressionism and includes some classic works by Joan Mitchell, Julius Bissier, Alberto Burri, Eduardo Chillida, Tony Cragg, Richard Diebenkorn (his black and white abstractions on paper are just as powerful as the large - scale paintings on canvas), Jean Dubuffet, Willem de Kooning, Barbara Hepworth, Agnes Martin, Robert Mangold, Philip Guston and others.

Chicago - born Matt Connors explores the intersection between mimesis and abstraction in the large - scale painting A New Illusion (2017), whose visual vocabulary evokes modernist processes, but ultimately rejects categorisation, while the diagrammatic works by Indian artist Goutam Ghosh are inspired by the unspecified common ground occupied by religion, science, and magic.

From large scale gestural abstraction to tiny figurative and interior meditations, reaching across styles and genres from modernist art to mashups of contemporary culture will be presented side by side.

This exhibition took an unusual look at the work of Louise Fishman — a painter known for her art's athleticism and abstraction — by focusing on small scale and sculpture.

She also worked as a mural painter for the Works Progress Administration, and spent years experimenting variously with collage, biomorphic abstraction, hard edge abstraction, small - scale works inspired by her Jewish heritage and large - scale works informed by her personal life.

In another set of interactions, works by the perennially influential Philip Guston appear across three generational shifts: a Social Realist drawing of Klansmen, dated 1930, hangs amid politically progressive paintings by Jacob Lawrence (the great War Series from 1946 - 47), prints by Louis Lozowick, Hugo Gellert and Mabel Dwight, and photographs by Dorothea Lange, Margaret Bourke - White and Walker Evans; his modestly scaled abstraction, «Dial» (1956), is installed between Mark Rothko's imposing «Four Darks in Red» (1958) and Louise Bourgeois» classically phallic «Quarantania» (1941) in the galleries devoted to Abstract Expressionism; and a large, brooding, late figurative canvas of heads, shoes and eyeballs, «Cabal» (1977), turns up beside paintings by artists twenty - five to thirty years his junior, along with one from Cy Twombly, who was two years older than Guston, born in 1911, and one by Alma Thomas, who lived from 1891 to 1978.

Challenging by nature, small scale works offer the artists the ability to work quickly and decisively, while giving a focus on craft and detail that is rarely seen in extra large abstraction.

Opening: «Robert Swain: Color Energy» at Minus Space Minus Space inaugurates its new ground floor gallery in Dumbo with a solo show of large - scale geometric abstractions by the venerable Robert Swain.

Riley describes Little Rock's mainstream art scene as dominated by contemporary Southern artists, regional artists, landscapes, geometric abstraction, smaller scale abstract expressionism, and neo-impressionism.

At Simon Watson, Louise Fishman's first full - scale exhibition in three years presents a group of elegiac abstractions, redolent of dimly lighted closed - off spaces and inspired by a recent journey to Auschwitz.

This is a great show, at once fresh and knowing, the concept of rendering commercial imagery into abstraction beautifully served by Simon's razor - sharp sense of line, color, and scale.

By reducing the obligatory details, especially the background, in favor of speed of execution on a large - scale format (which he gleaned from Abstract Expressionist painting), and by maintaining simplicity of form (distilled by the artist for the sake of observational necessity long before the emergence of minimalism), Katz was able to bring abstraction and observation, simplicity and speed into his singular pictorial languagBy reducing the obligatory details, especially the background, in favor of speed of execution on a large - scale format (which he gleaned from Abstract Expressionist painting), and by maintaining simplicity of form (distilled by the artist for the sake of observational necessity long before the emergence of minimalism), Katz was able to bring abstraction and observation, simplicity and speed into his singular pictorial languagby maintaining simplicity of form (distilled by the artist for the sake of observational necessity long before the emergence of minimalism), Katz was able to bring abstraction and observation, simplicity and speed into his singular pictorial languagby the artist for the sake of observational necessity long before the emergence of minimalism), Katz was able to bring abstraction and observation, simplicity and speed into his singular pictorial language.

The exhibition will bring together «Stripe, Rake» (1969), French conceptual artist Gina Pane's homage to Malevich; large - scale minimal paintings and sculptures by New York painter Rosemarie Castoro; site - specific geometric abstractions by Japanese - Brazilian artist Lydia Okumura and «Ping Poema» (1999) by Brazilian artist Lenora De Barros.

♦ Dominique Levy: sold a 12 by 12 inch Frank Stella geometric abstraction, «Delaware Crossing» from 1961, for $ 1 million, as well as a major suite of eight large - scale paintings by German artist Gunther Uecker, «Weisse Bilder (White Pictures)» from 1989 - 92, that went to a European foundation for $ 5 million.

Gardar Eide Einarsson and David Ratcliff will show large - scale black and white abstractions, with the former also represented by new sculptures.

The overlap of concepts, materials, colors, and scale in artworks is endless, so by focusing on abstraction alone, this exhibition allows the works to converse in closer proximity, further pushing the definition of abstraction.

This exhibition of recent works by Martha Jones features oil paintings based on a consistent set of elements that call on the viewer to think about issues of color, scale, and abstraction within an artistic tradition.

Smaller in scale than those paintings of her 2014 debut exhibition, the new work matches in surreal ebullience their predecessors, praised by Roberta Smith as «big, boisterous semi-abstract canvases (that) exude an impressive confidence... like close - ups of billboards or a tour through some outsize undergrowth in which nature has merged with several brands of abstraction, from early American Modernism to Color Field painting... (Silva) is already is tackling a lot with an astuteness and aplomb that make her a painter to watch.»

Jaffe's large - scale geometric abstractions are inspired by what she sees day to day in the urban Paris landscape.

Working within the vein of assemblage, Wadden's large - scale works are conceived by piecing together his handwoven weavings, thereby transforming, smaller process - based pieces into larger, hard - edged, geometric abstractions.

Even so, they continued to be influenced by their original training, composing in terms of immense scale and heightening the tension between three - dimensional form and flat, geometric abstraction.»

There are other works (interestingly, many of which spring from the word «train») that retain their ambiguity through abstraction, such as the intensely blue, self - explanatory «AS THE CROW FLIES (the distance between my studio and the Drawing Center (3666 miles) drawn on scale 1/1, 5900000 lines of 39.37 inch» (2014) by Kris Van Dessel; the colorful, hard - edge monoprint silkscreen from the artist known as HENSE, «Shape» (2014); and Carl Fudge's black - and - white woodcut «Bricklayer 1» (2014).

The first work in the show is a vibrant abstraction by Alma Thomas, next to an equally vividly hued work by Charmion Von Wiegand, two hard edge abstractions, yet of a very different nature and sense of scale.

Daring new paintings by Jim Dine, featuring large - scale works that verge on pure abstraction, with palettes that range from vivid to grisaille.

Each is a pair of 9 - by -6-1 / 2 foot panels that Mitchell painted separately and then joined together to form a single mural - scale abstraction.

Working in almost total isolation, first in New York State, later in Oakland, California, Still had arrived by 1943, at a style that was more radical in its abstraction, and more sweeping in scale, than the work of any New York School artists of that time.

Begun essentially by the Rothko, Newman, Still wing of Abstract Expressionism (Pollock's drip paintings are crossovers between this and gestural abstraction), it continued on in Colorfield painting, and in later large - scale monochrome and minimalist painting (another important addition to the map, although not with as much breadth as the Gestural.)

As the story goes, and it is well known enough not to bear repeating, in 1952, when Frankenthaler was all of 23 years old, she painted «Mountains and Sea,» an epic - scaled abstraction (86 5/8 by 117 1/4 inches) now in the National Gallery of Art, Washington, DC.