Sentences with phrase «work as an abstract painter»

From his wikipedia page...» Accomplished as a designer, photographer, typographer, printmaker and poet, Albers is best remembered for his work as an abstract painter and theorist.

After college I was drawn to abstraction and since then have continued to work as an abstract painter.

At the time, Currin was working as an abstract painter, and I'm under the impression that this painting was mostly a joke.

Mary Nelson Sinclair grew up in Dallas, Texas before moving to New York City where she currently resides working as an abstract painter.

Laurent went on to study art at the Académie de la Grande Chaumière and work as an abstract painter in Montparnasse.

Ultimately, Guston's Rome paintings tell us what he'd been so sorely missing during the period in which he worked as an abstract painter: pictorial space, historical ties, and a feeling of mattering, of addressing life in the artist's present moment.

Not exact matches

English character actor Timothy Spall plays the painter over the last 25 years of his life as his work began to grow more abstract.

Pennsylvania, United States About Blog Taryn Day's style of painterly realism is inspired by the work of modern painters who combine realism with a strong emphasis on abstract design, such as Richard Diebenkorn, Fairfield Porter, Edwin Dickinson and Edward Hopper.

In the early 1990s, as a young artist out of graduate school at Bennington College in Vermont, where he studied the work of mainstream abstract painters such as Helen Frankenthaler and Kenneth Noland, Odita got a job at Kenkeleba House in New York, owned by the painter Joe Overstreet, who collected and showed work by African American artists.

Kurchanova writes: «Apart from large canvases covered by Pollock's signature all - over web of patterned, dripped or sculpted paint, a range of his smaller abstract paintings adds complexity to our understanding of his work as that of an «action» painter... Pollock's active engagement with printing presents his achievement as a painter to us from a completely different angle and complicates the understanding of his work as based in physical action and unmediated involvement of the artist's hand.

As a cerebral painter, this body of work continues his interest in systems, minimalism, and Op Art from the 1960s and 70s; with the computer as a drawing tool, his images also explore contemporary graphic design, digital technology and the history of hard - edged abstract, geometric paintinAs a cerebral painter, this body of work continues his interest in systems, minimalism, and Op Art from the 1960s and 70s; with the computer as a drawing tool, his images also explore contemporary graphic design, digital technology and the history of hard - edged abstract, geometric paintinas a drawing tool, his images also explore contemporary graphic design, digital technology and the history of hard - edged abstract, geometric painting.

Behind the black gate was a world of color, hundreds of abstract works created and hidden away by Mr. Bates, who had a promising start as a painter in the 1970s before renouncing the art world and retreating to his storefront to paint.

It features works by abstract and figurative painters and sculptors, as well as pioneers of installation and performance art.

For BOS, Julie has been organizing a community of international as well as American abstract painters and curating their works.

As such, «Rower's pours come closer to the abstracting nature photos of Edward Weston than to the works of Pollock or de Kooning, painters who, even when most abstract, always left behind traces of the actions of their hands.»

But in her work, and that of other abstract painters I've mentioned, the issue of whether there is anything already in such paintings, as opposed to what we might «read» into them, is often raised.

As with other abstract movements, these painters emphasized color and how the work corresponds with their own inner emotions over shape or form.

It should be noted that while the overall effect of Murray's work is one of abstraction, and the artist described herself as an abstract painter in an interview included in the 1987 catalogue, there are many representational elements and references in her paintings, in a stylized style emerging from cartoons, comics, and graffiti as well as from pop artists like Claes Oldenburg: works are shaped like shoes or cups and contains stylized abstracted but identifiable figuration and still - life imagery.

There has never been a better year to look at the work of Kazimir Malevich, a pioneer of abstract art often seen as the greatest Russian painter of the twentieth century.

Jackson Pollock, Adolph Gottlieb, Hans Hofmann, Barnett Newman, Clyfford Still, Mark Rothko, Robert Motherwell, Ad Reinhardt and Arshile Gorky (in his last works) were among the prominent abstract expressionist painters that Greenberg identified as being connected to Color Field painting in the 1950s and 1960s.

While she describes herself as a painter and has won international recognition for her abstract canvases embroidered with erotic motifs, Ghada Amer is a multimedia artist whose entire body of work is infused with the same ideological and aesthetic concerns.

While his work bears similarities to that of American abstract expressionist painters such as Mark Rothko, Jules Olitski and Barnett Newman, Hoyland was keen to avoid what he called the «cul - de-sac» of Rothko's formalism and the erasure of all self and subject matter in painting as championed by the American critic Clement Greenberg.1 The paintings on show here exhibit Hoyland's equal emphasis on emotion, human scale, the visibility of the art - making process and the conception of a painting as the product of an individual and a time.

Curator Gary Garrels worked with six abstract painters — Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool — to select one of their own recent paintings as well as works by other artists who have influenced their thinking.

Whatever else they may or may not have in common with the work of abstract painters and sculptors from elsewhere, the artworks shown here were made to be exhibited as such.

Richter's technical aptitude has led to his reputation as one of the outstanding painters of our era and Abstraktes Bild, which lays testament to his relentless technical explorations in the field of abstract art and to the painterly and intellectual elasticity unique in his work, is estimated at # 500,000 - 700,000.

As part of Joan Mitchell Foundation's ongoing collaboration with Voices of Contemporary Art (VoCA), please join us on Thursday, October 12, when abstract painter and Yaqui Indian Mario Martinez will sit down with Steven O'Banion, Director of Conservation at Glenstone, to discuss his life, work, and personal philosophy.

Visiting abstract painter Mike Elsass in his Front Street studio By Bill Franz Photo: Mike Elsass» signature rusted steel paintings hold as many as 40 layers of paint; photos: Bill Franz Mike Elsass may be Dayton's most colorful artist, and he works in what is definitely Dayton's most colorful studio.

The original common use refers to the tendency attributed to paintings in Europe during the post-1945 period and as a way of describing several artists (mostly in France) with painters like Wols, Gérard Schneider and Hans Hartung from Germany or Georges Mathieu, etc., whose works related to characteristics of contemporary American abstract expressionism.

Through the Mint Museum's collection you can trace the evolution of this genre from the work of the Hudson River School painters such as Thomas Cole and Sanford Gifford, who focused on the natural beauty of our country's topography, through the rise of Impressionism: a movement whose artists celebrated a more abstract, subjective view of their surroundings.

As the MCA Chicago preps for its 50th birthday in 2017, Beckwith is in the beginning stages of planning a project with abstract painter Howardena Pindell, who — like the MCA, as Beckwith points out — has been working with art for 50 yearAs the MCA Chicago preps for its 50th birthday in 2017, Beckwith is in the beginning stages of planning a project with abstract painter Howardena Pindell, who — like the MCA, as Beckwith points out — has been working with art for 50 yearas Beckwith points out — has been working with art for 50 years.

Guston, whose work was widely exhibited during this period, achieved critical success as an abstract painter.

These are impressively adept paintings with a confident sense of scale, but they do not have a distinctive character compared to contemporary works by artists such as Helen Frankenthaler, Grace Hartigan, or Joan Mitchell, to reference only the most noted women abstract painters of Schapiro's generation.

Although all of the artists have donated works to help to support the magazine and the development of the art school, this exhibition has been carefully considered to reflect that which is current, significant and critical in contemporary painting, including abstract works by Thomas Nozkowski, Mali Morris and Phil Allen, and painters who have championed a figurative approach such as Chantal Joffe, Neal Tait and Dinos Chapman.

The term «abstract classicists» was coined in 1959 by curator and critic Jules Langsner to define these four southern California painters whose work he grouped in a seminal exhibition that year at the Los Angeles County Museum in Exposition Park (prior to LACMA's existence as an independent art museum).

Here Robertson, the curator of two previous Hoyland shows, questions the artist about the new work and his development as an abstract painter...

As head of the visual arts program at Bennington College, Paul Feeley worked closely with students and faculty — a group of abstract painters and sculptors — such as Pat Adams, Helen Frankenthaler, Ruth Ann Fredenthal, Vincent Longo, Ken Noland, Jules Olitski, Larry Poons, David Smith, and Tony SmitAs head of the visual arts program at Bennington College, Paul Feeley worked closely with students and faculty — a group of abstract painters and sculptors — such as Pat Adams, Helen Frankenthaler, Ruth Ann Fredenthal, Vincent Longo, Ken Noland, Jules Olitski, Larry Poons, David Smith, and Tony Smitas Pat Adams, Helen Frankenthaler, Ruth Ann Fredenthal, Vincent Longo, Ken Noland, Jules Olitski, Larry Poons, David Smith, and Tony Smith.

First things first: You are still missed as one of the most interesting abstract painters working after the Second World War.

While Blinky Palermo's reputation as one of the foremost post-war abstract painters is well established in Europe, his work is rarely seen in North America.

Chris Moon is an outsider artist making serious waves as a painter with abstract work that recalls the intensity of Francis Bacon in its stretching of anonymous human forms into the endless void of the canvas

When British artists saw the first London exhibitions of American abstract painters such as Jackson Pollock and Mark Rothko in the late Fifties, they were astonished by the improvisatory freedom of their works, in which paint appeared to have been hurled on to the canvas without any preconceived ideas, and by the sheer size of the paintings.

The exhibition, «I speak now from the aesthetic and artistic point of view when I say that life with Michelle Grabner is dull» brings together the work of four antithetical painters who Michelle Grabner, the Chicago - based artist, heralds as profoundly enabling to her own unvaried and unimaginative abstract investigations.

The lower horizontal band retains an emphasis on bands of color similar to abstract works by painters such as Morris Louis and a repetitive logic that foreshadows minimalists such as Donald Judd.

Influenced by abstract expressionists including Willem de Kooning and Franz Kline, as well as painters such as Francis Bacon, Francisco de Goya and Paul Gauguin, Fritz Scholder's work was purely his own.

The exhibition will consist of a series of works of a standard size, in which the artist invokes abstract and representational visual languages, as well as his own status and behaviour as a painter.

Works by the earlier generation of artists represented in the show can be loosely situated within geometric abstraction and abstract constructivism, influenced by artists such as Piet Mondrian (1872 — 1944) and groups such as De Stijl (founded 1917) and the ZERO movement of the 1950s and 60s, as well as the American Colour Field painters.

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He began as an abstract painter, though a visit to an exhibition of Andrew Wyeth's work at Buffalo, New York, in 1962 confirmed his disenchantment with abstraction.

Here Robertson, the curator of two previous Hoyland shows, questions the artist about the new work and his development as an abstract painter since the 1950s.

He began his career as a painter, drawing on the work of the abstract Expressionists, but as time went on he became increasingly dissatisfied with painting, a medium that he came to believe was a thing of the past.

Entitled Drip, Drape, Draft, the show presents works by Robert Davis, a close friend of Johnson for more than a decade; Angel Otero, who he has known for some six years; and Sam Gilliam, an older artist from what Johnson refers to as «an almost lost generation of black abstract painters», with whom he recently struck up a mutually significant friendship.