Sentences with phrase «with early modernism»

Diverging from her food - centered paintings, spotlighted in her previous solo exhibition at the gallery, All U Can Eat, her new works feature abstracted landscapes grounded in an engagement with early modernism and an exploration of color relationships.

For the exhibition, Montgomery has deepened a dialogue with early Modernism in a series of paintings that set his texts overlaid on the composition structures or «ghost outlines» of a number of Malevich paintings.

With early Modernism, the past increases refuses to stay past, just as Constantin Brancusi's dark imagery or Picasso sculpture upends sculpture's pedestal.

Not exact matches

Early modernism took for granted that its models of the world corresponded with the world as it is.

The earliest streams of Romantic modernism found this source in a high view of Nature, with the person as part of the natural order.

It is a lesson in an aspect of AbEx that often gets lost in its hagiography: with all the influence of early modernism, the AbEx painters succeeded by grasping the universal notion that painting is an improvisational art that can not be exhausted as long as there are artists willing to risk thinking for themselves.

Hofmann was renowned not only as an artist but also as a teacher of art, both in his native Germany and later in the U.S. Hofmann, who came to the United States from Germany in the early 1930s, brought with him the legacy of Modernism.

Roberta Smith, a famous art critic, placed Guyton with some younger painters that were countering the structures of late Modernism by revisiting the early Modernist cusp between abstraction and representation, entering the area previously populated with Malevich «s robotlike peasants, Jawlensky's masks, Mondrian's flower paintings.

It has to do with the impossibility right now of clearly distinct art movements like those of early Modernism, leaving what Jerry Saltz has called a superparadigm.

The artist's formal references were not wholly introspect, however, with early twentieth century European modernism playing an equally significant role.

This circuitous route of painterly iconography underscores Langsam's own «passion» for painting and Modernism, where even Romanticism is revealed to be a construct with foundations appearing close to two centuries earlier than what is held to be its historical moment.

These works are familiar from art history texts because their large, concave faces; stylized features; inventively worked bronze and copper surfaces; and ineffably human geometries exerted a crucial influence on early French Modernism, starting with Picasso's «Demoiselles d'Avignon.»

Cézanne's influence on early 20th - century American photography is examined for the first time with examples by Alfred Stieglitz, Edward Steichen, Paul Strand, and others who played a pivotal role in introducing modernism to America.

Hofmann was renowned not only as an artist but also as a teacher of art, both in his native Germany and later in the U.S. Hans Hofmann, who came to the United States from Germany in the early 1930s, brought with him the legacy of Modernism.

A suite of thirteen framed prints, White Modernism, rounds out the show and bridges it with McElheny's earlier explorations of modernist ideas of purity and morality.

Scully employs a reductive vocabulary of thick horizontal and vertical bands of color, which perform an interplay of mass, light and shadow, through which he reconciles the ordered character of early European Modernism, with its ideals of harmony and spirituality, and late American Modernism, with its use of less harmonious, expressionistic compositions.

Born in 1892 to two artists, he inherited their admiration for Robert Henri and early American Modernism — really a somber realism with splashes of color.

Meckseper's confrontation of contemporary consumer display vitrine structures with the historic underpinnings of Hoetger's, Brancusi's and Mies van der Rohe's work, illustrates how early Modernism, German Expressionism and the avant - garde developed into a form of political and aesthetic resistance to the mainstream.

Modernism is a philosophical movement that, along with cultural trends and changes, arose from wide - scale and far - reaching transformations in Western society during the late 19th and early 20th centuries.

Early Modernism taunted the viewer with a bad dream.

Known as the mother of American modernism, Georgia O'Keeffe played a pivotal role in the development of American contemporary art and its relationship with European movements of the early twentieth century.

‡ This placement on the threshold of early and late twentieth century modernism served Stankiewicz well, as he continued to exhibit and develop his sculpture throughout the 1960s and 1970s, establishing relationships with New York galleries even after he left the city in 1962 for rural Massachusetts.

One of Pollock's early works, this painting demonstrates his fascination with both Renaissance art (particularly El Greco's paintings) and the large - scale murals of Mexican modernism — aspects of his career that are now largely overlooked.

Georgia O'Keeffe, also known as the mother of American modernism, played an extremely important role in the development of American contemporary art and its relationship with European movements of the early twentieth century.

Opening: «Folk Art and American Modernism» at the American Folk Art Museum The American Folk Art Museum may be in smaller quarters after selling its Midtown building to MoMA, but it proves that it can still pack a punch with this show about the relationship between the development of the modern art movement in America and the folk art collections of many modernists in the early part of the 20th century.

You said earlier that in the 1950s you felt at odds with the idea that modern art, modernism, was to do with progress.

It even has a display of early Modernism, thanks to Ji Lee, with a tiny Piet Mondrian nestling above the elevators.

It emphasizes that Smith surpassed Pollock in another way as well, with his easy absorption of early Modernism.

One can always marvel at how much of early Modernism is still out there, as with a booth just for Giorgio Morandi, but has one then succumbed entirely to the market?

«Ms. Hughes's big - voiced visionary landscapes jump — and sometimes galumph — with clashing colors; spatial conundrums; an obstreperous scale; and smart, heartfelt historical citations, especially to early modernism,» said The New York Times» Roberta Smith.

Influenced by early 20th century Modernism, Jurgensen often quotes from art history by intertwining recognizable forms and ideologies with fragments of popular culture to create ritualistic monuments divining a contemporary spirituality.

At Mumok, Müller, together with Manuela Ammer, co-curated Always, Always, Others (2015), a collection exhibition that brought together early modernism and the 1970s.

At Dreier's suggestion, these went on loan to the Brooklyn Museum, giving the young McNeil early exposure to the European modernism against which he and his future colleagues would react with such significant results.

In a series of works Larry did in the early 1980s — «The Continued Interest in Abstract Art» (more to the point, his fight with it) he slyly places his battle with modernism directly in the canvass.

Pablo Picasso's re-working of classical composition inspired in part by African masks, Frank Stella's creation of non-rectangular shaped canvases, and Dan Flavin's experimentation with neon light are all important milestones in the history of modernism — an art movement that has origins in Western Europe in the early twentieth century and took hold in America in the 50s and 60s.

Biala, whose painting career spanned most of the 20th Century, developed a style that was a synthesis of the intimacy and light often associated with early French Modernism, and the painterly directness and active brush strokes of Abstract Expressionism.

Biala's aesthetic is a unique synthesis of early French Modernism and American Abstract Expressionism made manifest by bold brushstrokes combined with a spare, economic domestic intimacy.

Following up her earlier work critiquing mid-century modernism, i.e., abstract painting, in which she redid Kenneth Noland stripe paintings as awnings, Morris Louis stain paintings as tie - dyes and even Barnett Newman «zips» as monochromes divided with real zippers, Dunphy is now taking on the entire modernist canon in the form of miniature embroideries.

It kicks off by pairing an early Rothko with a Rembrandt, positioning the artist in a context far broader than modernism.

Ill try to keep out of any family feuding as Im a long way off in mind, stuck with my modernism, and frail body, and far too sensitive to personal insult.What does interest me is the frankly appalling lack of anything visual in the current hang at the Tate Britain, which Alan mentions.There was one room where there was a visual lift, with one of the Hoylands from the Whitechapel [crimson ground], an early Gillian Ayres, the odd Prunella Clough and Bernard Cohen.Its as tho Culture in the broadest sense collapsed after about 1985.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

It has been a great time to be a New Yorker in love with adventurous art, whether you're a connoisseur of early modernism or a seeker of new, untested stuff.

What to see at the Aargauer Kunsthaus The Kunsthaus is primarily devoted to Swiss art from 18th century to the present, paying a special attention to the work of Caspar Wolf, Johann Heinrich Füssli and Arnold Böcklin; its comprehensive collection includes artworks belonging to various styles: landscape painting, early Modernism, Swiss expressionism, post-war abstract art and contemporary art; the concrete art section is also particularly remarkable, with notable works by Max Bill, Sophie Taeuber - Arp and Hans Arp, among others.

This idea is well established with a longstanding history, with roots winding back well into the early twentieth century to the dawn of Modernism.

Best known for wild splatters of jaunty color, his career spanned a wide range of styles beginning in the early 1950s with monochrome canvases of dripping, biomorphic brush strokes influenced by the California Bay Area Modernism.

As the catalogue explains, Diebenkorn forged strong allegiances to sources in American art and popular culture before fully responding to Matisse's influence; the teacher who introduced him to Sarah Stein was in fact a disciple of Edward Hopper, and it was the example of Hopper's hard - won, vernacular images that guided Diebenkorn's early engagement with the harsh literalism of the American scene, which was often hostile to modernism.

Not afraid to gather inspiration from sources such as Brazilian folk arts and decoration, Milhazes embraces these «low» art influences and balances them with the high - minded modernism that was brought to Latin America by an earlier generation of artists such Helio Oticica and Tarsila do Amaral.

Private collections of early modernism have traditionally been studied and exhibited with an emphasis on the contemplation of the works on display, neglecting the economic, social and political implications inherent to the activity of collecting in a context like that of Europe in the first decades of the 20th century.

The restless career of one of the great provocateurs of early modernism finally gets its due from MoMA, healthfully perturbing that institution's emphasis on linear progress and creative genius with radically shifting styles and tones.

The collection of American art ranges from the colonial period to the present includes 19th & 20th century masterpieces of American landscape and realist painting, with important works by Asher B. Durand, Winslow Homer, and Lily Martin Spencer; early 20th - century works of realism and modernism, including masterpieces by Thomas Hart Benton, Elizabeth Catlett, Stuart Davis, Jacob Lawrence, Georgia O'Keeffe, and John Sloan; a major collection of sculptures by Gaston Lachaise; and late - 20th century masterworks by Josef Albers, Helen Frankenthaler, Hans Hofmann, Isamu Noguchi and Jackson Pollock.