Sentences with phrase «years of abstract painting»

These works were created between the 1960s and 2010 and are a key strand in Balzar's 50 years of abstract painting, which she produced in a global context, exploring the role and impact of non-referential art — a project that never left real - world references far behind.

So I was very much, in the first couple of years of abstract painting again, I was very much on guard for....

Not exact matches

Born next to the saloon that has been in his family for one hundred years, Sunny has over the years partied with Andy Warhol, spent time in India at the feet of a guru, and painted abstract expressionist originals.

In recent years Tuttle has busied himself with overlapping plywood panels and with bits of Foamcore that burst with bulbous abstract forms painted in rich, sensuous colors.

The crowded installation of huge abstract paintings, reliefs, sculptures, and painting - sculpture hybrids, augmented by works on paper, tracks the New York artist's fifty - seven - year career.

I was painting all over the map before this year and have decided to hone in on my most favourite type of painting, which I call «Heirloom Art Pieces» — they're a highly textured form of abstract art that I've been doing for over 6 years (undercover).

Consider the most visible trend in recent years of Zombie Formalism, a kind of reductive, easily produced abstract painting, sold quickly to collectors queued up on waiting lists and hungry for innocuous, decorative works in a signature style, so much so that the name of the artist himself becomes the brand.

Art fairs are often associated with abstract painting (much of it looking the same), stunt pieces (almost instantly forgettable), and neon sculptures (brightly and, in many cases, annoying), but, at this year's Armory Show in New York, some galleries had on offer works that explicitly addressed the political situation in the United States.

3 Clyfford Still painted a traditional portrait of his mother (PH - 420) in 1946, the same year as his breakthrough exhibition of completely abstract paintings at Peggy Guggenheim's Art of this Century Gallery.

It should have been clear from the start that any book whose aim was to discuss only the abstract painting of the past fifty years was necessarily doomed to give a shallow and misleading account of much of it — which is exactly what M. Seuphor, in perhaps forty pages of undistinguished prose, has done.

The exhibition titled «Painting in Italy 1910s - 1950s: Futurism, Abstraction, Concrete Art,» presents works of Italian abstract art, bringing together fifty years of history over two floors.

Forty - five years of abstract color painting, defined rather reductively by Phillips as stain painting, is inadequately represented by four lonely works, that span a mere six - year period: Helen Frankenthaler's Mountains and Sea, (1952), Sam Francis's, Black in Red, (1953), Morris Louis's Iris, (1954) and Kenneth Noland's Song, (1958).

In 2013 NYTimes review, Holland Cotter praised Whitten for his restless energy: With a career grazing the 50 - year mark, Jack Whitten is still making work that looks like no one else's, which is saying something, given the flood of abstract painting in New York... read more... «Quick study»

Over the last twenty years, Liliane Tomasko has created abstract painting, sculpture and photography that examines places of domesticity.

Over the course of her 40 - year career, Williams has made an array of artwork, from modest paintings of mostly representational scenes in a cartoonish style to large - scale abstract paintings erupting in brilliant colors.

These important exhibitions bring the faint hope that quality in abstract painting might begin to re-emerge finally from the Duchampian eclipse of the past twenty odd years.

That year he made new dot paintings on white fields that introduced an abstract and new compositional awareness to his dot paintings that emphasized the unique character of each picture.

Though Flack has become an artist with an impressive career as a representational painter, and later a sculptor of public monuments, her early experiments in abstract painting — like those of Pat Passlof, shown at Elizabeth Harris last year — mirror and impersonate the classic AbEx look.

It comes at a decisive moment for abstract painting in the United States, booming again after years of false death notices.

And I was continually thinking back to the abstract painting, and those years, and it seemed to me that things just flowed so freely, and it was kind of invention and — what's the word I want?

«Wolf Kahn» at Ameringer McEnery Yohe (through December 23): This week is the last chance to catch «Wolf Kahn,» an exhibition of paintings that push the limits of an abstract language that the American artist has been developing for over seventy years.

That same year Peter Young painted a series of large abstract paintings that were tight clusters of primary colored dots on white fields.

Trying to keep pace with him, Willem de Kooning was meanwhile flowering forth, and within a year or two, every ambitious artist in New York seemed to be bashing out big - scale abstract paintings, borne aloft by great puffs of critical rhetoric.

Kandinsky is generally regarded as the founding father of abstract art; however, Swedish artist Hilma af Klint may, according to art historians, have created the first abstract painting as early as 1906 — a whole five years before Kandinsky.

The term «abstract» fails to evoke the unforgiving rigor of the paintings by San Franciscan John Meyer (1943 - 2002) that George Lawson has just brought back to light after many years in storage or in private hands.

But over at Victoria Miro this spring, it's a season of «sisters are doin» it for themselves» with an exhibition dedicated to over fifty women that have defined abstract painting through the years.

These almost abstract, monochrome paintings treat the plain yet distinctive ads that New York's most famous jewelry brand has run daily for many years in the upper right hand corner of the same page of The New York Times, while echoing associations with another classic, Truman Capote's Breakfast at Tiffany's, whose object of desire Holly Golightly lures admirers only to elude them later.

These successes launched Hoptman back to MoMA in 2010 as curator of contemporary art in its painting and sculpture department, and since then her landmark show has been «The Forever Now: Contemporary Painting in an Atemporal World,» the 2014 conversation - starter billed as the first contemporary painting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previopainting and sculpture department, and since then her landmark show has been «The Forever Now: Contemporary Painting in an Atemporal World,» the 2014 conversation - starter billed as the first contemporary painting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previoPainting in an Atemporal World,» the 2014 conversation - starter billed as the first contemporary painting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previopainting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previous eras.

I think the skeptics, at least over the past five years or so, were proven right with regard to the artists who are making abstract paintings that are perfect for the way they are consumed: They make a lot of them, there's a green one and a blue one and a pink one, and you can collect them all like toys in a Cracker Jack box, which is what they're all about.

Tate Modern's new exhibition, Henri Matisse: The Cut - outs, opens tomorrow, and it's already been hailed as the exhibition of the year — a colourful, life - affirming show of the artist's bold, abstract collage works, which he created when health problems prevented him from painting.

Even dedicated fans of his work have inevitably faltered at one or another of his forking paths over the past twenty years, while Bradley, on the other hand, shifts gears without pause: from starkly minimalist to gestural abstract paintings with stops in between, from discomfiting assemblage sculptures to boldly graphic silkscreens, and from jagged, sometimes comic drawings to obdurate geometric sculptures.

Albers's connection with Mexico, which he described to Kandinsky as «the land where abstract art existed for thousands of years», was long and inspiring: in 1935 he produced his first oil abstract painting after making his first trip there with his wife, Anni, and his first Homage to the Square while teaching in Mexico City in 1949.

Gruin noted that she had already been preparing a «response» exhibition to Hirst's «Veil Paintings,» which will take place from May 16 through June 17 and include the work of Maringka, Gabriella Possum Nungurrayi and Polly Ngale, each of whom works in an abstract painterly style and whose works look similar to that of the 52 year - old British Hirst.

The trends seen at this year's opening night were intriguing — tons of fabric and textile - based work, like Verena Dengler's embroidered canvases at Thomas Duncan and Laure Provost's spectacular tapestry at MOT International; a pull towards representative painting, like Marcel van Eeden's cake painting at Clint Roenisch or Louise Bonnet's»60s - style oil paintings of peculiar sad - sacks at Mier Gallery; and any abstract work to be found was very multicolored, like William J. O'Brien's trippy plant - like paintings at Shane Campbell and Stanley Whitney's vibrant grids at Team Gallery.

Over the past twenty - five years Noel Yauch has produced hundreds of paintings, still abstract — differing from his early attempts only in as much as they are more precise — coming from a man who as an architect spent years addressing formal relationships, those relationships now between color and balance.

About five years ago, the artist Gabriel Orozco started printing colorful stickers that mimic the geometry of his abstract paintings: semicircles and quarter - circles in red, gold, white and blue.

Over the past five years, Richter has been primarily concerned with a series of paintings premised on systematically deconstructing a photograph of his own abstract oil on canvas from 1990.

Becky Yazdan's small paintings have become incrementally more abstract over the four years or so since I first saw her work, but they remain anchored by precise composition, balanced line, and subtle choice of color.

Like other encounters with «masterpieces» at the Guggenheim, a 1996 survey of abstract painting and «The Tradition of the New» from 1994, this exhibition pretty much ends twenty years ago, with Art Povera.

But like Elmer Bischoff and David Park, with whom he made the turn to figurative painting a few years later, Diebenkorn was asking questions that abstract expressionism couldn't always answer, even though, as the early works in the show at the Royal Academy (until 7 June) suggest, he was a loyal and talented disciple: the LA Times described him as «one of the most gifted artists in the American non-objective field».

He kept working fourteen more years, to judge by jagged iron on display only in a West Village gallery, somewhere between congealed lava and the Victory of Samothrace, and a few photographs of gentle abstract paintings.

Many now see Wool as the heir to Andy Warhol, the next great link in an American tradition of painting that began in the postwar years of abstract expressionism and pop art.

To many in the artistic community, the name «Dana Schutz» is now synonymous with the images of black protesters blocking her characteristically - abstracted, yet uncharacteristically sociopolitical painting of Emmett Till this past year at the Whitney Biennial.

I, too, am leaning or just starting to abstract in the studio after years of outdoor plein air painting.

Coined in April of last year by critic Walter Robinson and echoed by our own Jerry Saltz, the term refers to a loose, gormless, novelty - seeking form of abstract painting that hedges every bet at relevance.

Widely recognized as one of the most important American artists of the last fifty years, Ellsworth Kelly redefined abstract art through his bold paintings, sculpture, prints, and drawing.

CARMEN HERRERA: LINES OF SIGHT Spanning over 50 years, this survey of Carmen Herrera (born in 1915 in Havana) also helps fill in the narrative of post-World War II abstract painting migrating from Europe to the AmericaOF SIGHT Spanning over 50 years, this survey of Carmen Herrera (born in 1915 in Havana) also helps fill in the narrative of post-World War II abstract painting migrating from Europe to the Americaof Carmen Herrera (born in 1915 in Havana) also helps fill in the narrative of post-World War II abstract painting migrating from Europe to the Americaof post-World War II abstract painting migrating from Europe to the Americas.

Installation view February 26 — May 15, 2011 Marius Lut, Jan van der Ploeg, Esther Tielemans and Evi Vingerling How does the most recent generation of Dutch painters relate to the tradition — now stretching back a hundred years — of abstract painting?

This period coincided with the blossoming of the abstract expressionist movement and the pinnacle of Still's 20 - year quest to redefine painting in which «space and figure,» the artist wrote, «had been resolved into a total psychic entity.»

Wayne Marto has been painting abstract spiritual art since experiencing a profound spiritual awakening in 2014 after several years of deep spiritual contemplation and meditation.