Sentences with phrase «with early modernists»

Tillman Kaiser shares concerns with other contemporary European artists in displaying a fascination with early modernist design, Utopian ideology and Futurism redux.

I think my goal is to create my own language within a structure that is referential to the history of painting and abstraction because I think in a lot of ways abstraction started with that early modernist work.

Not exact matches

The central issue in the early debates between Fundamentalists and Modernists was on the question whether the gospel should emphasize as the essence of the gospel, deliverance of the humans from sinfulness or affirmation of the human vocation to creativity and cooperation with God in recreating nature and society according to the purpose of God.

The late Pope did more than any pope of the last century to defend and reassert beyond any doubt the stable and objective character of Catholic teaching - more even than Pius X with his great encyclical Pascendi Dominici Gregis, since modernist incursions had become very much more powerfully established during the pontificate of the unhappy Pope Paul than they had been in the early years of the century.

The house is an early Modernist home, and I've been trying to figure out ways for the holiday decor to complement, not compete with the already beautiful details in the architecture, and still be easy and quick to do.

The décor in the salon evokes the lavish, modernist splendor of the villa's early days, with lovely gold accents in the hearth and sunburst mirror.

The exhibition will look back at Hockney's most iconic works and key moments in his career from the 1960s to the present, including his early experiments with modernist abstraction, his mid-career experiments with illusion and realism, and his current jewel - toned landscapes.

This comprehensive overview demonstrates, «from his early experiments with modernist abstraction and mid-career exper

The exhibition looks back at Hockney's most iconic works and key moments in his career from the 1960s to the present, including his early experiments with modernist abstraction, his mid-career experiments with illusion and realism, and his current jewel - toned landscapes.

Late 19th - century Americans like Augustus Vincent Tack and Albert Pinkham Ryder, along with early American Modernists like Georgia O'Keeffe, Marsden Hartley, Stuart Davis, Arthur Dove, and Milton Avery's landscapes also provided important precedents and were influences on the Abstract Expressionists, the Color Field painters, and the Lyrical Abstractionists.

They recall early Modernist images of life as a tragicomic circus of love and loss, stylish dignity struggling with inelegant humiliation.

This exhibition traces the career of artist Gary Erbe from his early troupe l'oeil works to his recent paintings combining realism with modernist tendencies, including works that focus on objects arranged to emphasize composition, form and structure.

Thomas Chimes: Early Works (1958 - 1965), 2009 Text by Lisa Saltzman 56 pages, Hardcover Published by Locks Art Publications ISBN: 978 -1-879173-41-5 «Developing, in these formative paintings, a visual style indebted to the palette and compositional structures of such modernist forefathers as Marsden Hartley and Henri Matisse and emboldened by the stenographic proto - abstractions of such New York School predecessors as Jackson Pollock and Mark Rothko, Chimes systematically put forth a series of paintings that pressed such experimentations with the limits of figuration into the realm of the theological, the philosophical and the historical.

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.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century - of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life - continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

As early as 1906, af Klint was working with abstract imagery — giving her a lead of several years in the modernist race to be the first to discover abstraction.

Night Vision is organized chronologically beginning with landscape artists» visions of moonlight, moving to early Modernists» experimental representations of electrified evenings, and concluding with interpretations of the night by American realists and abstract artists.

Throughout the following decades, after relocating to Los Angeles in 1963, Hockney allowed his naturalistic style to outweigh his early concern with cultivating a modernist aesthetic.

At the gallery's 293 Tenth Avenue location, «Robert Motherwell: Early Paintings» examines the lesser - known, experimental abstractions of the artist's pre - «Elegy» years.1 Around the corner at Kasmin's 515 West Twenty - seventh Street venue, «Caro & Olitski: 1965 — 1968, Painted Sculptures and the Bennington Sprays» looks to the personal friendship and creative dialogue between sculptor and painter.2 And finally, up the block at the gallery's 297 Tenth Avenue address, in «The Enormity of the Possible,» the independent curator Priscilla Vail Caldwell brings the first generation of American modernists together with some of the later Abstract Expressionists — Milton Avery, Oscar Bluemner, Charles Burchfield, Stuart Davis, John Marin, Elie Nadelman, and Helen Torr, among others, with Lee Krasner, Jackson Pollock, and Mark Rothko.3

Similarly, when Hiller made Dream Screens (1996), a very early interactive web - based artwork in which the viewer clicks on the screen to change its colour while a woman's voice discusses the role of dreams in modernist art, simultaneously overlapping with a woman's voice discussing the theory of colour.

Jizi was by and large self - taught, synthesizing the techniques and philosophy of traditional Chinese ink painting with individualistic expression culled from early modernist artists in the West.

The continuity of materials and aesthetic allude to the school's early modernist roots in the 1920s and correspond with the formal exercises Macuga herself undertook as a student in Poland.

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.

With Mylar foil and straw bales, painted stripes and gestural drips, German painter and sculptor Anselm Reyle (born 1970) breathes new life into the motifs of Abstract Expressionism, Pop art, Minimalism and earlier movements, leaving no modernist master untouched in his reprisings of their motifs.

Mangold's woodcuts premiering for the first time are also presented in conversation with works such as Movement in White, Umber, and Cobalt Green (1950) by early American modernist John Marin (1870 — 1953), known for his abstract landscapes, and with Duet and Murmur (2014), New York — based contemporary artist Cheonae Kim's (1952 ---RRB- paintings from her linear black - and - white series.

This is an excellent exhibition on the significance of Cornish modernist artists and their international network of artists that came and went or corresponded with them in the early 20th Century.

Beginning with her earliest works — drawings and paintings created in the 1940s while studying at Black Mountain College — this beautifully illustrated volume traces Asawa's trajectory as a pioneering modernist sculptor who is recognized nationally for her wire sculpture, public commissions, and activism in education and the arts.

After the war, he continued his art training in Paris with French modernist pioneers André Lhote and Jacques Villon, who directly influenced Gray's early work.

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.

They recall the early modernist visages of Alexej von Jawlensky, but on a contemporary scale and with references to our political present: a raised (white) fist here, collages of African sculpture elsewhere.

Along with the White Paintings, which Rauschenberg completed in 1951, the Black paintings signaled the young artist's awareness of the status of the monochromatic canvas within the lineage of modernist painting, particularly as it was developing in the late 1940s and early 1950s at the hands of artists such as Barnett Newman (1905 — 1970), Franz Kline (1910 — 1962), and Willem de Kooning (1904 — 1997).4 Although the White Paintings and the Black paintings explored related formal strategies, the Black paintings in particular have been read as a response to the innovative rethinking of the monochrome that was occurring in those years.

Murray's work builds on the legacy of early twentieth - century Modernist movements such as Cubism and Expressionism, funneling them into her own language that is equally concerned with psychology and the quotidian.

One can connect them with early historical modernist painting, and aspects of New York School paintings in the»50s, but there's a physicality, as I said earlier, a scruffiness, a kind of attitude present in your paintings that doesn't feel like anything else one has really seen within that mode of working.

The first exhibition in the United States exclusively devoted to the artist focuses on her pivotal production from the 1920s, from her earliest Parisian works, to the emblematic modernist paintings produced in Brazil, ending with her large - scale, socially driven works of the early 1930s.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century — of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life — continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

Smaller rooms in back hold other early sculpture along with modernist painting.

That would all be fine if they were used to add something, but it reads like a formal exercise, toying with abstraction in a long tradition of early Modernists or folk painters.

Jeffrey Weiss, an authority on modernist and postwar sculpture, in close collaboration with Morris, systematically catalogues the object sculptures, and subjects them to critical and historical interpretation in the context of Morris's early practice overall.

The 2 - D paintings in colored sign vinyl from her Color Theory Series quote works of the jazz - and language - inspired modernist Stuart Davis, in his transition from early Cubistic and Romantic influences to an engagement with radical politics and popular culture.

Leckey's interests might have shifted throughout the last decade — from an obsession with pop culture, subculture and the figure of the dandy in earlier films such as Parade (2003), and in his band collaboration DonAteller, with fellow artists Ed Laliq, Enrico David and Bonnie Camplin; to the high / low culture face - off of his BigBoxStatueAction performances (2003 — 11), in which Leckey's giant speaker stack confronts icons of modernist British sculpture, such as Jacob Epstein's Jacob and the Angel (1940 — 1); to his later multimedia performance lectures, the Internet - driven epiphany of dematerialisation In the Long Tail (2009) and its antithesis Cinema - in - the - Round (2006 — 8), with its more reflective inquiry into the physicality of images via, among others, Philip Guston, Felix the Cat, Gilbert & George, Homer Simpson and Titanic (1997).

From her investigation into the notion of artificial beauty to references of futuristic architectural ideas from the early 20th century, Korean artist Lee Bul has, over the past two decades, garnered international renown with a diverse and intellectually challenging body of work that includes sculptures, performances and installations, while always maintaining an intriguing relationship with modernist ideals.

In his early work, Will Barnet combined intimist evocations of family life with a modernist sense of form, while teaching printmaking and painting at the Art Students League, and other schools.

Whereas the then - fashionable neo-Expressionists combined images pastiched from eclectic cultural sources with a loose painterly style, Jensen renewed the symbolist impulse that fueled the work of late American Romantics and early American Modernists such as Albert Pinkham Ryder and Marsden Hartley without resorting to parody or kitsch.

Some of Ms. Bove's earliest pieces, which drew heavily on her upbringing in the Bay Area in the 1970s, were spare Modernist shelves, decorated with domestic knickknacks and a highly particular cross section of books (Hermann Hesse; R. D. Laing; Betty Friedan; «Natural Parenthood,» by Eda J. LeShan.)

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

Spanning the period between 1828 to 1945, the exhibition opens with the earliest form of American maritime painting — the grand academic - style portraits of graceful sailing ships — and includes waterscapes from the sea to the lakes and rivers of the American heartland, light - flooded impressionist visions of quaint New England seaside towns, and modernist renderings of industrial waterfronts and everyday life on the water

This catalog collects 27 full - color illustrations of these paintings, along with generous examples of Slutzky's earlier work, to critically examine how the painter's manipulation of color and transparency have transgressed the modernist canon of flatness.

For the museum, she also organized a three - part exhibition series Modernist Art from India (2011 - 13) and, with Rahaab Allana of the Alkazi Foundation, co-organized Allegory and Illusion: Early Portrait Photography from South Asia (2013).

As Paul Morrison wrote (in Contemporary Visual Arts) of an earlier phase of Stubbs's work,» the paintings operate as perceptual palimpsests in which the artist overwrites modernist tropes with playful irreverence».

His early work features broad, calm rectangles in the manner of the American Color Field painters, but Hoyland's distinctive contribution has been to break with the modernist insistence on a flat surface and to put perspective back into abstract painting: his mature work is characterised by depth and texture, in which strange objects float in the foreground or middle distance, against an often mysterious background, in a way that is oddly reminiscent of Miro.