Sentences with phrase «time of the abstract artists»

Art in Canada has ancient origins, right from the time of the abstract artists to the more modern artists who started to develop their own individual tastes.

Not exact matches

Porter once wrote: «The realist thinks he knows ahead of time what reality is, and the abstract artist what art is, but it is in its formality that realist art excels, and the best abstract art communicates an overwhelming sense of reality.»

Using elements of color, text, and abstract symbolism the artists created iconic representations of the people and issues that defined the time.

STILLPASS: It's interesting that you rejected formal training because certain art critics at the time argued that abstract expressionism came out of America, where artists could fully escape the preconceived notions of the European tradition.

Writers and curators, viewing these paintings at the time of their production, recognized the near - mystical arrangement of mathematic symbols and abstract shapes contained within these works as a language wholly the artist's own.

With the exception of Kelly, all of those artists developed their versions of painterly abstraction that has been characterized at times as lyrical abstraction, tachisme, color field, Nuagisme and abstract expressionism.

Sanín's work has been a part of the NMWA collection for almost three decades, but this is the first time the museum has dedicated a show exclusively to a geometric abstract artist.

The term was first formulated by Theo van Doesburg and was then used by him in 1930 to define the difference between his vision of art and that of other abstract artists of the time.

JMcK: The teaching of drawing has occupied an important place in your career as an artist specifically teaching life drawing at a time when abstract art and conceptual forms of art were in the ascendancy.

In 1974, in reference to a New York gallery show by Judy Rifka, Jeremy Gilbert - Rolfe wrote that the artist addressed «the question most crucial to painting in general at the present time: the question as to how far the — currently compromised — abstract «depth» of pictorial space can be newly considered — retrieved — through attention to the material basis of the conventions on which that experience of «depth» relies.»

But like Elmer Bischoff and David Park, with whom he made the turn to figurative painting a few years later, Diebenkorn was asking questions that abstract expressionism couldn't always answer, even though, as the early works in the show at the Royal Academy (until 7 June) suggest, he was a loyal and talented disciple: the LA Times described him as «one of the most gifted artists in the American non-objective field».

Artists such as Phil Dike, Rex Brandt, George Post, Nick Brigante, and others experimented with abstract form, reflecting many of the larger changes taking place at that time in the art world, most notably the rise of Abstract Expressionism.

Filmed by the artist on New Year's Day, its footage shifts between documentary and experimental styles, using both wide - angle and detail shots that, at times, abstract the figures» bodies into a chaotic arrangement of imagery, colour, and movement.

Magnetic Fields: Expanding American Abstraction, 1960s to Today places abstract works by multiple generations of black women artists in context with one another — and within the larger history of abstract art — for the first time, revealing the artists» role as under - recognized leaders in abstraction.

Taking the plunge into a fascinating imaginative world, Sigethy will again team up with sculptor Liz Lescault for «Fathom Full Five: Going Deeper,» a sequel to their May 2013 «Fathom» exhibition that featured beguiling forms, abstract but undeniably organic, started by one artist and completed by the other — with the promise, this time, of two large - scale installations.

The artist uses the technique of automatic drawing to create the small painting, which is an abstract drawing made in a short period of time and in a spontaneous manner.

Bearden's abstract canvases are of their time, yet set apart in ways that prove crucial to understanding their significance as a stage in the artist's development.

Some of those prominent «uptown» galleries included: the Charles Egan Gallery, [30] the Sidney Janis Gallery, [31] the Betty Parsons Gallery, [32] the Kootz Gallery, [33] the Tibor de Nagy Gallery, the Stable Gallery, the Leo Castelli Gallery as well as others; and several downtown galleries known at the time as the Tenth Street galleries exhibited many emerging younger artists working in the abstract expressionist vein.

Simões de Assis Galeria de Arte will bring together eight historical works by the Brazilian modernist Cícero Dias (b. 1907, d. 2003), which represent the height of his abstract creations and were produced following his move to Paris, where he became associated with other prominent artists at the time including Alexander Calder, Fernand Léger, Joan Miró and Pablo Picasso.

'» At a time when abstraction remained on the fringes of the art world, the group aimed to «foster public appreciation of [abstract] painting and sculpture,» and grant «each artist an opportunity for developing his own work by becoming familiar with the efforts of others.»

He had just left the Chelsea School of Art after an unsatisfactory period as a figurative painter in an institution that overvalued abstract expressionism, and was «thrashing about as an artist» attempting to express his perplexity and anger at the dismal political situation facing the left at the time.

As the Rorschach paintings transform from beautiful abstracts to loose figurations of our own imaginations, we are simultaneously exploring the inner psyche of the artist's mind during the time of their creation — Warhol psychological self - portrait.

Inspired by the origin of the universe and The Big Bang, the artist presents his abstract works analyzing the nature of technology, time and our limitations to completely understand the universe we live in.

I'm trying to figure out if there was already a group of abstract artists in Paris at the time that there was Abstract Expressionism here [in New York].

In two books and letters to the New York Times he decried realistic American regionalism and European - inspired abstraction while urging American artists to create a new form of expressive abstract art.

For her elegant exhibition «Time Being,» abstract artist Sky Pape created expressive works on paper using a combination of Sumi ink, water, gouache, and Flashe acrylic paint, applied with homemade brushes and palm fronds.

Constructive Spirit examines the connections, both conceptual and personal, among abstract artists, suggesting parallels that cut across time, national borders, and a range of media, including paintings, sculptures, prints, photographs, -LSB-...]

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» Expert.

Further, for him, the framework or motif of the tree functioned like a time machine, in that it enabled him to hold a form of discussion with past abstract artists — in particular Mondrian — which was reflected within his works.

For the artist, the liminal space of transformation is what offers the greatest metaphorical potential, as captured in her new abstract paintings that depict moments of mutation and growth frozen in time.

197, 1984 Cumming, Hugh, «Contemporary British Artists» in Art & Design, February 1987 Dorment, Richard, «The abstract language of colours» in The Daily Telegraph, 11 February 1987 Faure Walker, James, «Painting at the Hayward» in Artscribe, no. 8, 1977; «John Hoyland and the Hayward Annual» in Artscribe, no. 24, August 1980 Feaver, William, «Painting Prose» in The Observer, 17 October 1976; «The Many Sides of Moynihan» in The Observer, 10 September 1978; «Demon Colourist: John Hoyland at the Serpentine» in The Observer, 7 October 1979; «White Russian Hope» [includes review of Waddington Galleries exhibition] in The Observer, 11 October 1981; «What's Time to a Pig?»

Hoyland was not interested in symmetry, balance, all - overness, chevrons, monochrome, a mechanical look, or modular repetition — which are all characteristics of American abstract paintings being done at the same time by artists such as Kenneth Noland, Frank Stella, and Ellsworth Kelly.

The Serenity of Madness is structured into distinct sections: one corresponding to the artist's private world, peopled with friends, family and long - time collaborators; another takes up the public sphere but with a more abstract dimension of experience, utilizing light, memory and temporal, spatial, and spiritual displacement.

Oil on Canvas Born in Havana, Cuba, in the late 70s during a well - documented time of religious and political oppression, abstract expressionist artist Mirtha Moreno, immigrated to t...

«Across the Tisch collection there are moments of great figuration, but also fabulous abstract compositions by artists who are dealing with figuration and abstraction at the same time»

The expressions of everyday life and vibrantly abstracted forms presented in Pattern Scheme evoke qualities of time, balance, repetition, focus, and design that emerge from the unique styles, subjects, and stories of each artist, connected through their varying use of pattern.

There are moments of great figuration, but also fabulous abstract compositions by artists who are dealing with both of those issues at the same time.»

The Vogels began collecting art in the 1960s, a time that saw a new generation of artists respond to the abstract expressionist movement.

Like many abstract artists, Helen Frankenthaler (1928 — 2011) continually tested the constraints of the genre, at times inserting into her compositions elements of recognizable subject matter.

In 1965 Tuttle held his first solo exhibition at Betty Parsons Gallery, New York — at the time considered the most significant gallery for producing great numbers of famous abstract - expressionist artists.

Henri Matisse painting Bathers by a River, May 13, 1913 Photograph by Alvin Langdon Coburn Courtesy of George Eastman House, International Museum of Photography and Film, Rochester July 18 — October 11, 2010 In the time between Henri Matisse's (1869 — 1954) return from Morocco in 1913 and his departure for Nice in 1917, the artist produced some of the most demanding, experimental, and enigmatic works of his career — paintings that are abstracted and rigorously purged of descriptive -LSB-...]

Gerhard Richter, one of the internationally most significant contemporary artists of our times, granted filmmaker Corinna Belz access to his studio in the spring and summer of 2009 where he was working on a series of large abstract paintings.

oil on panel Born in Havana, Cuba, in the late 70s during a well - documented time of religious and political o ppression, abstract expressionist artist Mirtha Moreno, immigrated to th...

He curated an exhibition for the Arts Council at the Hayward Gallery in 1976, entitled «The Human Clay» (an allusion to a line by W. H. Auden), including works by 48 London artists, such as William Roberts, Richard Carline, Colin Self and Maggi Hambling, championing the cause of figurative art at a time when abstract was dominant.

These striking lithographs feature images of maritime landscapes interspersed with more abstract brightly colored spiral shapes, investigating the formal and theoretical kinship between two great artists of our time.

Likewise, many of today's brightest young artists are exploring both time - tested traditions as well as new processes to create abstract work that exemplifies the current zeitgeist.

At the same time, knowing that African American artists had for years been largely expected to make works of social realism, and the ambition to make abstract works every bit as important as Helen Frankenthaler or Morris marked a equally revolutionary statement of artistic freedom, the abstractions of Bowling, Gilliam, Thomas and Ed Clark — who created shaped canvases, sweeping paint across them with push - brooms — are no less arresting.

Charles Mayton is New York - based contemporary artist, whose paintings combine the abstract and the schematic, exploring the questions of time, language and performance in painting, straddling abstraction and figuration.

This time the artist investigates Turner's use of light and colour by abstracting the hues of the paintings into monolithic colour studies, of seven of the great artist's paintings.

By the time Twombly died in 2011, he had become a figure of unique mystery and authority in modern art — an American who chose to live in Italy, an abstract artist fascinated by myth and history, a man who never spoke to the press, and when all is said and done, the most intelligent and emotionally eloquent artist of our age.