Sentences with phrase «such as abstract painting»

Stephen Maine's review considers MacPhee's new work in relation to various art - historical references such as abstract painting and the use...

Stephen Maine's review considers MacPhee's new work in relation to various art - historical references such as abstract painting and the use of clothing in modern art.

Bourriaud implicitly pits object - based art practices such as abstract painting — which he associates with the notion of (failed) utopias — against what he calls «microtopia,» a provisional, DIY, relational approach to art.

Not exact matches

In addition to pieces of ochre that appear to have been engraved — the oldest such abstract art in the world — archaeologists have found tool kits that included abalone shells used as containers to mix ochre with crushed bone, charcoal, quartz and other material to make paint.

Looking closer, Everhart began to see echoes of Chinese ink paintings and the black - and - white paintings of abstract expressionists of the»40s and»50s, such as Franz Kline, Willem de Kooning and Robert Motherwell.

With titles such as Strawberry Milk and Orange Peel, these abstract paintings are simply delightful.

I also believe that the traditions of abstract painting (such as those developed by the three artists I mention above) are particularly suited to the task.

In addition to her widely popular Infinity Rooms, such as LOVE IS CALLING, Kusama creates vibrant paintings, works on paper, and sculpture with abstract imagery.

The Chicago - based artist is expanding upon his series of abstract DNA paintings, a group of works in which he embeds copies of his most personal documents such as his birth certificate.

Additionally, Tyler's paintings are reminiscent of the work from past artists such as the simplified geometric grids of Piet Mondrian's later work, color field paintings of Mark Rothko and the early abstract expressionistic work by Philip Guston.

They have a very strong compositional relationship to history painting, such as Da Vinci's, shown with the abstract landscapes that act as moments of memory.

In Liliane Tomasko's latest abstract paintings her examination of domesticity, such as the unmade bed, has become more urgent and fragmented, perhaps in accordance with the times.

Encompassing over 12,500 works made since 1900, the museum's collection includes works by such artistic luminaries as Pablo Picasso, Marcel Duchamp, Henri Matisse, and Georgia O'Keeffe, as well as 33 paintings, drawings, and collages by the acclaimed abstract - expressionist Robert Motherwell.

But in her work, and that of other abstract painters I've mentioned, the issue of whether there is anything already in such paintings, as opposed to what we might «read» into them, is often raised.

Yet the question where painting gets its content still haunts abstract work such as that of Erin Lawlor and Jenny Bloomfield.

As their hometown metastasized and Brasília started to rise, São Paulo artists such as Geraldo de Barros and Luiz Sacilotto painted totally abstract compositions — spiraling curlicues in the former's case, cascading black - and - white stripes in the latter's — that aimed to give form to the utopian dreams of a new BraziAs their hometown metastasized and Brasília started to rise, São Paulo artists such as Geraldo de Barros and Luiz Sacilotto painted totally abstract compositions — spiraling curlicues in the former's case, cascading black - and - white stripes in the latter's — that aimed to give form to the utopian dreams of a new Brazias Geraldo de Barros and Luiz Sacilotto painted totally abstract compositions — spiraling curlicues in the former's case, cascading black - and - white stripes in the latter's — that aimed to give form to the utopian dreams of a new Brazil.

My primary focus as of late has been on textured impasto paintings and contemporary landscape paintings such as: tree paintings, modern minimalist art, nightscape paintings, contemporary landscape paintings, storm paintings, modern abstract art, impressionist art and mid century modern art.

Painted in 1966, this majestic painting anticipates at once his large scale photo - paintings and abstract works, such as Vierwaldstätter See (Lake Lucerne), 1969, and his monochrome Graue Bilder (Grey Paintings) from tpaintings and abstract works, such as Vierwaldstätter See (Lake Lucerne), 1969, and his monochrome Graue Bilder (Grey Paintings) from tPaintings) from the 1970s.

Unlike his contemporaries, such as Mark Rothko and Barnett Newman whose art expressed an urge to transcendence, Kline was focused on pure abstract forms and gesture itself, deprived of any symbolic character or «painting experience».

From Norman Lewis to Joe Overstreet, the Harlem Renaissance — derived tradition of African - American abstract painting (which has historically had a primarily black audience) is intermingled with the tradition of so - called self - taught or outsider artists such as Bill Traylor and Bessie Harvey (whose audience has been mostly in the rural south and mostly black); the more recent wave of African - American conceptualism represented by Adrian Piper, Lorna Simpson, and others (whose work

In particular, As Above, So Below considers the role played by certain spiritualist and alternative doctrines, such as the occult or mysticism, in the creation of abstract painting from its origins to the present digital agAs Above, So Below considers the role played by certain spiritualist and alternative doctrines, such as the occult or mysticism, in the creation of abstract painting from its origins to the present digital agas the occult or mysticism, in the creation of abstract painting from its origins to the present digital age.

Much of his work relates to abstract expressionism and minimalist painting, remixing formal characteristics to highlight the cultural and social histories of the time, such as the civil rights movement.

As so regularly in Rauschenberg's best work, a painting such as Charlene (1954), with its exuberant central panel of abstract marks and its competing compartments made of so much stuff, completes a tendency in his work, killing it off with a flourish and issuing a reckless demand for more — more and differenAs so regularly in Rauschenberg's best work, a painting such as Charlene (1954), with its exuberant central panel of abstract marks and its competing compartments made of so much stuff, completes a tendency in his work, killing it off with a flourish and issuing a reckless demand for more — more and differenas Charlene (1954), with its exuberant central panel of abstract marks and its competing compartments made of so much stuff, completes a tendency in his work, killing it off with a flourish and issuing a reckless demand for more — more and different.

And as early as 1943 the principal tenet that was to distinguish the new abstraction from earlier, pre-war abstract art was clearly formed, as evidenced in a brief «manifesto» of the rising movement crafted by Mark Rothko, Adolph Gottlieb, and Barnett Newman for The New York Times in response to a negative review of the new style: «There is no such thing as good painting about nothing.

Looking at painters who came to prominence in the 1960s,»70s and»80s, this book shows how abstract painting has developed in the wake of postwar movements such as Art Informel.

While his work bears similarities to that of American abstract expressionist painters such as Mark Rothko, Jules Olitski and Barnett Newman, Hoyland was keen to avoid what he called the «cul - de-sac» of Rothko's formalism and the erasure of all self and subject matter in painting as championed by the American critic Clement Greenberg.1 The paintings on show here exhibit Hoyland's equal emphasis on emotion, human scale, the visibility of the art - making process and the conception of a painting as the product of an individual and a time.

During the 1940s and 50s, New York became the centre for abstract art, with a group of artists such as Jackson Pollock and Willem De Kooning practicing action painting.

One of the standard - bearers of the polarizing, hard - to - categorize group of contemporary painters that includes such artists as Mark Grotjahn, Nicole Eisenmann, Richard Aldrich, Josh Smith and Michael Williams, Joe Bradley (born 1975) is widely known for his bright abstract paintings and glyph - like drawings.

Paintings, reliefs and collages such as the cubist - influenced Beach with Starfish (1993 - 34) chart his stylistic development from representational art through abstraction, while a display of selected works by contemporaries including Alexander Calder and Jean Hélion helps illuminate Piper's role as a champion of international abstract art in Britain.

While abstract expressionists such as Jackson Pollock, Franz Kline and Willem de Kooning had long been outspoken in their view of a painting as an arena within which to come to terms with the act of creation, earlier critics sympathetic to their cause, like Clement Greenberg, focused on their works» «objectness.»

It was also in New York that Thompson quickly arrived at his mature style, taking Dody Müller's advice to heart by reworking the compositions of European Masters such as Piero della Francesca, Nicolas Poussin, and Jacopo Tintoretto into simplified, abstracted forms painted in threatening and seductive tones that were hot and violent or deep and dark — seizing on the dynamism of these classical scenes and often transforming them into contemporary allegorical nightmares.

These are impressively adept paintings with a confident sense of scale, but they do not have a distinctive character compared to contemporary works by artists such as Helen Frankenthaler, Grace Hartigan, or Joan Mitchell, to reference only the most noted women abstract painters of Schapiro's generation.

Flush with an emerging confidence in their medium, photographers such as Harry Callahan and Aaron Siskind, wrote Hilton, found ways to turn the lens on these complexities: «The kind of campaign that was once waged, and waged successfully, for abstract painting is now being waged for «abstract» photography.»

Among the second group of abstract paintings at Firestone are works such as «Thunderbird» (1970), where a geometric cluster of blue lines, each about the width of standard masking tape, floats on a vibrant, flat red field.

Alongside the exhibition, pioneering works by Gerhard Richter from the collection of the Museum Ludwig are being presented, including icons such as Ema (Nude on a Staircase) from 1966, 48 Portraits of German intellectual figures from 1971/72, the abstract painting War from 1981, and the glass work 11 Panes from 2003, among others.

Although all of the artists have donated works to help to support the magazine and the development of the art school, this exhibition has been carefully considered to reflect that which is current, significant and critical in contemporary painting, including abstract works by Thomas Nozkowski, Mali Morris and Phil Allen, and painters who have championed a figurative approach such as Chantal Joffe, Neal Tait and Dinos Chapman.

While the movement is closely associated with painting, and painters such as Arshile Gorky, Franz Kline, Clyfford Still, Hans Hofmann, Willem de Kooning, Jackson Pollock, and others, collagist Anne Ryan and certain sculptors in particular were also integral to abstract expressionism.

Whereas artists such as Donald Judd (1928 — 1994) and Carl Andre (b. 1935) enlisted industrial fabrication and materials to make their works, Truitt hand - painted her sculptures in multiple layers to create abstract compositions of subtle color in three dimensions.

Indeed her works, which would be characterized abstract art rather than abstract painting, share some common ground, such as the spectacular use of colors, contrasts and shadows, the playful use of diagonals that creates a solid sense of perspective while different levels construct both volume and composition, but also the smooth way she moves from one texture to another, giving her paintings a rough surface by using colors impasto or with a palette knife or simply by incorporating different materials.

Hugo McCloud (b1980, Palo Alto, California) is known for his large - scale abstract paintings that use materials such as tar paper and metal, and engage with traditional woodblock printing techniques.

The expressionistic, abstract gestures that motivate many paintings take new form in works such as Norman Bluhm's drawing that combines the physical properties of ink and gouache to show the drips, stains, and flow of abstract - expressionist gesture.

We will explore the issues central to abstract painting, such as nature, structure, geometry, the human form and master paintings as potential sources of investigation and inspiration.

Other collections were not so much kept as withheld, such as Hilma af Klint's suite of abstract paintings from 1906 — 15, which she kept hidden for decades after her death, venturing that her work would be better appreciated beyond her own time.

The term may even comprise such abstract artists as Don Voisine, Pete Schulte, Cary Smith, Mary Bauermeister, and Nathlie Provosty, if not Jim Shaw and his «Thrift Store Paintings» or Archibald Motley and black southern art as a whole.

When British artists saw the first London exhibitions of American abstract painters such as Jackson Pollock and Mark Rothko in the late Fifties, they were astonished by the improvisatory freedom of their works, in which paint appeared to have been hurled on to the canvas without any preconceived ideas, and by the sheer size of the paintings.

Scribbled paint strokes blur the punchlines of comics, drips of white paint collide with a thick red line squeezed right from the paint tube, and bits of headlines such as «Dandruff may be the beginning of baldness» jump out amid abstract patches of pink, red, and yellow.

A second room devoted mainly to sculpture, Room 6 houses his more three - dimensional works, a few abstract pieces such as Totem (1986 - 89), his later paintings and Kate Moss pieces.

Bradford's monumental painting My Grandmother Felt the Color, 2016, is currently on view at the BMA in a gallery dedicated to social abstraction, alongside other artists who have turned to abstract imagery to convey the humanity, complexity, and ongoing impact of specific cultural experiences, such as Jack Whitten and Ross Bleckner.

Focusing its energies on the mounting of exhibitions onsite and off - space, and on the publishing of artist books, La Salle de Bains is working towards new exhibition formats and methods of mediation, such as the 2012 show Tell the Children / Abstraction pour Enfants (an echo of Andy Warhol's Painting for Children Pop art show at Galerie Bruno Bischofberger, Zürich, in 1983), which introduced children (and adults) to very contemporary abstract paintings by artists including Claudia Comte, Lisa Beck and Olivier Mosset — all hung at children's eye height, on vividly patterned wallpaper.

Furthermore, although his paintings are emphatically abstract (in fact, he believes in the historic inevitability of abstraction), they are not about the relationships of formal elements such as color, shape and line.