Sentences with phrase «toward pop art»

After graduation, he moved to New York City and became involved with Robert Rauschenberg, Claes Oldenburg, and Roy Lichtenstein whose work moved away from abstract expressionism toward pop art.

Important pieces by Robert Rauschenberg, Jasper Johns and Roy Lichtenstein shift the weight back toward pop art and its progeny, which rule again on the floor below, with ensembles of work by Damien Hirst, Cindy Sherman and Jean - Michel Basquiat.

Their gift charts the course of the most adventurous art movements since the 1950s, primarily in the United States, beginning with the work of Jasper Johns, Robert Rauschenberg, and Cy Twombly, who began to forge a path out of Abstract Expressionism toward Pop Art with the use of images, materials, and techniques from mass media and found objects.

Not surprisingly, older critics were often hostile toward pop art.

Later, upon the encouragement of his wife, Ileana Sonnabend, Castelli took on Rauschenberg as well, and those two artists together went on to usher American art away from Abstract Expressionism and toward Pop art, Minimalism, and Conceptual art.

Not exact matches

Third, the ironical stance toward market popularity that many rock artists adopted, the Pop Art stance, turns classic exotericism on its head: instead of providing something salutary for the masses that conceals within it the philosophy, Pop Art provides them with low pleasures the artists themselves despise or are ambivalent about.

Such is the postmodern promise of Todd Haynes's filmography, where pop culture and art - salon style are meant to march arm in arm toward a unibrow utopia of ideological critique.

Often perceived as humorous, whimsical or playful, the works poetically allude toward confrontations with mortality, timelessness and cultural awareness through slick pop - art...

The familiar digital arrows point to becoming - subject and becoming - object, charged with Art Historical and pop cultural attitudes toward the female body.

When he was at the height of his fame, the art world began to turn toward new attraction, Pop Art and the work of Andy Warhol, Roy Lichtenstein, and James Rosenquist, slowly forgetting abstract expressionisart world began to turn toward new attraction, Pop Art and the work of Andy Warhol, Roy Lichtenstein, and James Rosenquist, slowly forgetting abstract expressionisArt and the work of Andy Warhol, Roy Lichtenstein, and James Rosenquist, slowly forgetting abstract expressionists.

During her most fertile period, while she was living in New York in the sixties, she led the way with astonishing creativity — and in two directions simultaneously — as art moved from the established territory of Abstract Expressionism toward Minimalism and Pop.

«It's moved toward a much more consolidated equity investment vehicle, it has truly become an international business, it's bringing to the art market an incredible volume of money, and it puts pressure on mom - and - pop operations like ours.»

As rooted in the tradition of the Blues, as he is grounded in his knowledge of Hollywood's attitudes toward African - Americans, Marshall uses his knowledge of high art, folk art, and Pop culture to celebrate African - American culture and to

Some of the most respected scholars and art journalists of the day — including Irving Sandler (author of a four - volume history of postwar American art), Lawrence Alloway (the critic who coined the term «Pop art»), and Thomas B. Hess (editor of the magazine from 1948 to 1972)-- visited artists in their studios and reported back on the struggle toward the completion of a painting or sculpture.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woArt's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woart history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woArt in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

«Rebirth reflects Mori's shift away from a preoccupation with Japanese pop culture and consumerism toward the creation of contemplative and participatory spaces, and a vision of art and technology as essential parts of the broader ecology,» says Tezuka.

His voluptuous silk screens and thornily congested combines, bristling with found images and objects of all sorts, helped loosen the stranglehold of Abstract Expressionism and moved American art toward the lively new frontiers of pop art, conceptualism, even an environmental consciousness (his paintings made with live grass, an installation of bubbling mud).

On the one hand he expressed that pop art partook of a trend toward «openness and clarity as against the turgidities of second generation Abstract Expressionism.»

He moved to New York City in 1954 and joined the pop art movement, using distinctive imagery drawing on commercial art approaches blended with existentialism, that gradually moved toward what Indiana calls «sculptural poems».

His richly worked paintings of maps, flags, and targets helped shift the artistic community away from Abstract Expressionism and toward a new emphasis on the concrete, setting the stage for both Pop Art and Minimalism.

Just as Dadaism, in its literary nature, was not directly part of the formal trajectory set by Barr, so Pop art defied Greenberg's formal trajectory toward abstraction, best embodied by the work of the Abstract Expressionists.

Often perceived as humorous, whimsical or playful, the works poetically allude toward confrontations with mortality, timelessness and cultural awareness through slick pop - art fused objects.

That different batch of DNA can be found in the work of Hoyland's more immediate predecessors and contemporaries like Robyn Denny and Richard Smith and many others who made abstract art that looked toward modern architecture and design — combining these interests with a hard edged pop sensibility.