Sentences with phrase «with social realists»

A terrific room of American moderns unites alumni of the 1913 Armory show with social realists, regionalists, and the marvelously uncategorizable Yasuo Kuniyoshi.

Associating his influences with Social Realists «he fell in with» when he arrived in New York, Sims describes them as «a cohort of individuals who bridged the gap between abstraction and figuration... the use of energetic color and gesture, and a sensibility that would be described as gritty.»

His debut, 2010's Down Terrace, was a wonderful play on the gangster genre formula, interweaving the betrayal and murder typical of gangland narratives with a social realist aesthetic in the vein of Mike Leigh to hilarious effect.

Following his freshman year, De Staebler attended summer session at Black Mountain College in Black Mountain N.C., where he studied with the social realist Ben Shahn.

At Otis Art Institute in Los Angeles he studied with social realist painter Charles White.

Not exact matches

The aesthetic is very much in line with the directors» social realist tendencies, but applied to a neo-noir framework.

It's a docu - social - realist adventure, with fictional scenes in a real setting.

Though the stories sound like depressing social - realist works — in some ways that's not entirely inaccurate — Baker's work is infused with an infectious humor that brings out the best and worst in each character.

All this gives weight to Marianne Doezema's judgement that it was Bellows» ability to «combine a «revolutionary» style with an ingratiating message» that enabled him «to chart a delicate course between resistance and accommodation», and rather undermines the attempts to claim him as a social realist.»

Sean Mahan is a social realist figurative painter who works with graphite and acrylic washes on wood to depict a sense of wonder about the innate warmth of the human character and its conflict with structures of power and control.

In describing «Vignette,» Christie's says Marshall «inflects a social realist style with hints of Pop and Surrealist aesthetics to represent his black protagonists.

[11] Yet neither did he want to align himself with the anti-Modernist camp of Regionalists like Thomas Hart Benton and politically - minded social realists.

And by 1964, with Race Riot, «Andy Warhol establishes himself as the most relentless of social realist and social protest artists the country has produced.»

The exhibition begins with the artist's earliest drawings, made in Los Angeles while studying at Otis College of Art and Design under the legendary social realist painter Charles White.

The show argues that Lewis used abstraction throughout his career, after initially working along social realist lines, commingling it with the figure to comment on political issues involving race and civil rights, and introducing history and narrative into a style that eschewed such content in favor of medium specificity.

(A pendant show here, Kerry James Marshall Selects, offers a revealing glimpse of the artist's sources and inspirations: a stern portrait from the workshop of Hans Holbein, flowing figure studies by Veronese, a social - realist lithograph by his former teacher Charles Wilbert White, and a photograph of Gerhard Richter's wife, smudged with paint.)

His sculptural style clashed with the predominant classical figurative tradition, choosing rather to depict people in a socio - realist style, extending their representative physiques into social functionality (cyclist, postman, farmer etc).

In Vignette, he inflects a social realist style with hints of Pop and Surrealist aesthetics to represent his black protagonists.

Guerrero Z. Habulan is a figurative artist born in Philippines, a young social realist with a sharp sense of humor.

Designers like Donald Deskey, Gilbert Rohde and Russel Wright experimented with new materials, including aluminum, bakelite, cork and linoleum while painters such as Burgoyne Diller, Charles Biederman and Werner Drewes redefined an American aesthetic that challenged the predominant representational imagery of the social realists like Ben Shahn, Thomas Hart Benton and Raphael Soyer.

Philip Guston was a painter and printmaker who began as a social realist painter, associated with the mural movement involving artists such as Diego Rivera and working for the Works Progress Administration's Federal Arts Project in New York City during the 1930s.

Guccione worked with Mexican social realist painter David Alfaro - Siqueiros on Post Office murals for the federal Works Progress Administration during the 1930s.

Inspiration for the Social Realists came from the Ashcan School (many of them had studied with Ashcan artist John Sloan at the Art Students League in New York) and from the Mexican murals pioneered by Gerardo Murillo (1875 - 1964).

This fascination with urban life made him one of the first American social realists.

While she looks at society with the observant eye of a social realist, Dickson is also interested in experimenting with different media, textures, and techniques.

The exhibition is comprised of Kim Il Soon's North Korean social realist paintings and an installation that covers the entire lower level of the gallery with «Choco · Pie,» a South Korean moonpie - like confectionary manufactured by the company Orion.

Along with Pietro Consagra, Achille Perilli, and Giulio Turcato, in 1947 he helped formulating a manifesto and establish a group of abstract artists called Forma I. Although imbued with socialist leanings, the group did not follow the realist social commentary furthered by Guttuso but proposed to reclaim abstraction from the Futurism movement.

The scale of his semi-narrative social realist videos contrasts with the texture and density of his images.

Marshall studied in Los Angeles with acclaimed social realist painter Charles White and participated in the residency program at the Studio Museum in Harlem.

With her return to the city and school, she began painting in oil and did some work in the Chinese social - realist vein that she summed up by saying, «You did what they told you to.»

Kerry James Marshall studied in Los Angeles with acclaimed social realist painter Charles White and participated in the residency program at the Studio Museum in Harlem.

Depicting themes and settings as varied as bar scenes, motherhood and the plight of the artist, New York — based artist Nicole Eisenman (born 1965) fuses contemporary subject matter with art - historical influences ranging from Renaissance chiaroscuro to twentieth - century social realist painting.

Social realist artists identify with the downtrodden sectors of society, workers, farmers, laborers, and use their work to draw attention to the living conditions of these classes.

With the conscience of a social realist, he painted as an Abstract Expressionist, drawing inspiration from a circle of artists that included both Romare Bearden and Ad Reinhardt.

For a short time he painted landscapes and figural compositions with nudes, but he soon returned to works in a social realist mode.

Fusing centuries - old art - making conventions and a multitude of art historic influences — including impressionism, German expressionism, and twentieth - century social realist painting — with contemporary subject matter, she depicts settings and themes as varied as bar scenes, motherhood, and the plight of the artist.

North of the border in the United States, the Lithuanian - born social realist painter Ben Shahn (1898 - 1969) was also a successful fresco painter, with a number of public arts projects to his name.

Art of the WPA era is frequently associated with traditional social realist imagery, such as breadlines and Hoovervilles.

«The Dispossessed» is social - realist in subject, an evicted family, but inflected with School - of - Paris color and light.