View allAll Photos Tagged geometricabstraction
The controversial painter, sculptor and installation artist Damien Hirst is one of the world's most commercially successful contemporary artists. A leading member of the postmodernist generation known as Young British artists, he first came to prominence in the 1990s for his series of dead animals preserved and floating in formaldehyde. Influenced by Francis Bacon, his most famous works of avant-garde art include A Thousand Years (1989), a glass case with maggots and flies feeding off a rotting cow's head; The Physical Impossibility of Death in the Mind of Someone Living (1991), a tiger shark in a glass tank of formaldehyde and For The Love of God, a platinum cast of an 18th century human skull covered in £15,000,000 worth of diamonds. Hirst is also known for his 'spin paintings,' manufactured on a rotating circular surface, and 'spot paintings,' consisting of rows of randomly-colored dots or circles.
Hirst has been praised by many for galvanizing interest in the British arts and in helping to create the image of a 'Cool Britannia'. Moreover, a large number of art professionals and experts have been quick to acknowledge his prowess in marketing works of art. Even so, his critics are no less vocal. A Daily Mail headline stated "For 1,000 years art has been one of our great civilizing forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all." Artist Charles Thomson of the The Stuckist Art Group wrote of Hirst's works: "They're bright and they're zany - but that's all there is at the end of the day." And in a 2008 TV documentary The Mona Lisa Curse, the respected modern art critic Robert Hughes attacked Hirst's work as 'tacky' and 'absurd' . However, despite the sceptics, Hirst continues to be a best-seller and, despite a bust-up with his erstwhile patron Charles Saatchi, the latter remains a staunch supporter of Hirst's artistic talent, commenting: "general art books dated 2105 will be as brutal about editing the late 20th century as they are about almost all other centuries. Every artist other than Jackson Pollock, Andy Warhol, Donald Judd and Damien Hirst will be a footnote."
2011 (#5)
Acrylic and Oil on Arches Water Color Paper
22" x 30"
2011
All of the recent paintings in a collection are here:
Geometric Abstraction by Bryce Hudson on Flickr
My website with all of the work in all media is at:
Come and join me on Facebook - I love connecting with other artists and art/design enthusiasts!:
I am very much influenced by geometric abstraction and the Neoplasticism movement from the early and mid 20th century.
Untitled Composition (#17) 2012
Acrylic and Oil on Canvas
44 " x 88" x 2"
Signed and dated on Verso
I'm at www.brycehudson - Stop by, say hi!
A photo of this piece installed at the studio is here: www.flickr.com/photos/31207458@N07/7097333347/in/set-7215...
buttertwang presents: Frequência Modulada
GRÁFICA ÓPTICA
mosaïque disque géométrique optique
estación: ESPACIO saudade pelo futuro incarnata muse lives life alive in illicit harmony experience love organic architecture whole new way of looking and seeing immersed in light painting now with no filter only 100% real organic naturally occurring analog physical geometric mathematical motion blur un poco loco algoRhythmic ambient guru perfection liquid flow god's dj jet set design graffiti urb scribble urban bright chaos fractal iteration mad busy hectic highway freeway traffic strobing neon signs contemporary abstract expressionism vs. the representational and objective expression and communication of movement and light exploration by means of the rich language of film movies and music thru the fluent use of the vocabulary of moire patterns bokeh and high speed blurry light trails kinetic street art of photography long exposure multiple time distortion compression shooting dtla while driving fast smooth inspired by film noir Ridley Scott Blade Runner, Roman Coppola movie CQ, Ghost in the Shell, etc…
modern, abstraction, sublime, minimal, subliminal, disque, optique, moiré, orb, sun, star, planet, ambient, atmosphere, atmospheric, sci-fi, movie, cinematic, style, video, azulejos, mosaïque, mosaico, mosaic, retro, futuristic, poster
ortho projection mapping 3D dream subtle ambiance ying yang sun face mythological archetype symbolism que hubo cubos totally immersive cubic room cubism cubismo logo spin wax blacklight horizontal universal symbol exploding atomic FUEGO sunstar crown mandaLA wireFrame red rad radio flying out golden radial nuclear sepia vector in all directions at once ninja star ojos de brujo infographiste cyber goth rave punk rock ilusión óptica para vuestro placer retinal
Animated Blend Cymatics
Resonance Made Visible
Hard-as-Math Psichromatic Hipgnosis
#adobeillustrator #designer #abstract #algorithmic #vector #graphics #future #art #visual #artist #eye #minimalist #psychrometric #hipgnosis #opart #logo #packaging #record #cover #graphic #graphicdesign #lines #golden #light #reflection #symmetry #god #círculo #geometría #starwars
Tapestry "high-warp" Wool; 210 x 171 cm.
BIO TRANSLATED FROM GERMAN BY GOOGLE TRANSLATE:
Mirko Basaldella (born September 28, 1910 in Udine, Italy; † 24 November 1969 in Cambridge, Massachusetts, USA) was an Italian-American sculptor, painter and draftsman.
Mirko Basaldella named with artist's name usually only "Mirko". He comes from an artistic family, his brothers and Afro Dino Basaldella were also artists of international standing.
Mirko Basaldella studied art at the Accademia di Belle Arti di Firenze "and the" Scuola di arti applicate di Monza "by Arturo Martini. Martini, he works with at Monza in 1930 together until 1932. Between 1932 and 1934, both brothers are working in Milan in Afro and Mirko Arturo Martini's studio.
His first important exhibition was Mirko but already in October 1928, where he participated with his two brothers Dino and Afro Basaldella and Alessandro Filipponi at the Scuola della I ° Mostra d'friulana avanguardia (I ° exhibition of avant-garde school Friuli).
In 1934, Mirko moved to Rome. In Rome he is with his brother and other artists in the gallery "Comet" from. Also in 1934, his work is exhibited in the "Galleria Sabatello" in Rome. He made primarily bronze sculptures. In 1936, his first solo exhibition follows in the gallery "Comet". Also in 1936 Mirko participants of the Venice Biennale and is in the same year with his brother in the Afro Gallery "Mint" in Turin. In the following years, Mirko including exhibitions in Rome and New York.
In the years 1946-1947 Mirko picturesque experimented with post-cubist and a style similar to the Metaphysical painting imagery.
In the years 1948 to 1954, Mirko numerous solo exhibitions in New York, Rome and Milan, and creates a number of monumental sculptures. Mirko is a participant of documenta 1 (1955) and Documenta II in Kassel in 1959.
Mirko 1957 draws in the U.S. and is there until his death in 1969, director of design workshops (sculpture) at Harvard University in Boston.
Oil on canvas; 60 x 81 cm.
Nasce a Parma il 1896. Nel 1925 si trasferisce a Milano, dove tiene una serie di personali nel 1931, 1933, 1935 e 1939 alla Galleria del Milione.
Nel 1948 dà vita al gruppo MAC con Monnet, Dorfles e Munari.
A Milano, espone alla Libreria Salto nel 1949 e alla Galleria Bergamini nel 1951 e 1952.
Da un suo bozzetto viene realizzato, nel 1951, un mosaico per la Casa a Undici piani del Gruppo INA, sito nel QT8 di Milano. Nel 1952 la XXIV Biennale di Venezia riserva al parmense una sala personale, con opere dal 1930 al 1952.
GOOGLE "TRANSLATION":
Born in Parma in 1896. In 1925 he moved to Milan, where he held a series of solo in 1931, 1933, 1935 and 1939 at the Gallery of the Million.
In 1948 he founded the group MAC Monnet, Dorfles and Munari.
In Milan, he exhibited at the Library in 1949 and jump to the Galleria Bergamini in 1951 and 1952.
From his sketch was produced in 1951, a mosaic for the eleven-storey house of the INA Group, located in Milan QT8. In 1952, the XXIV Biennale di Venezia Parma subject to a personal room, with works from 1930 to 1952.
Oil on canvas; 61 x 50.8 cm.
Joaquín Torres García (28 July 1874 – 8 August 1949), was a Uruguayan plastic artist and art theorist, also known as the founder of Constructive Universalism. In 1978, most of his works were destroyed in a fire that broke out in the Museum of Modern Art in Rio de Janeiro, while a large exhibition of the artist's works was being held.
en.wikipedia.org/wiki/Joaqu%C3%ADn_Torres_Garc%C3%ADa/Tra...
When his father took a post advising the Soviet government, the family moved to Moscow. Life there became difficult, and his father secured permission from Lenin and the Politburo to take the boy to London in 1921. Young Liberman was educated in Russia ,England and France, and took up life as a White emigre in Paris.
He began his publishing career in Paris with the early pictorial magazine Vu, where he worked under Lucien Vogel and with photographers such as Brassai, André Kertész, and Robert Capa. After emigrating to New York in 1941, he began working for Conde Nast Publications, rising to the position of Editorial Director, which he held from 1962-1994.
Only in the 1950s did Liberman take up painting and, later, metal sculpture. His highly recognizable sculptures are assembled from industrial objects (segments of steel I-beams, pipes, drums, etc.,) often painted in uniform bright colors. Prominent examples are in the collections of the Metropolitan Museum of Art, Storm King Art Center, Hirshhorn Museum and Sculpture Garden, Laumeier Sculpture Park, Pyramid Hill Sculpture Park, Tate Gallery, and the Guggenheim Museum.
Sculpture; wood and cardboard with enamel and steel; 21 5/8 x 14 7/8 in.
Knud Merrild studied art and design in Denmark and immigrated to the United States in 1921. He and another Danish artist, Kai G. Götzsche, travelled around and met D. H. Lawrence and his wife, Frieda. The Lawrence’s convinced them to remain in New Mexico for the winter. During the winter of 1922-23 Merrild created a body of work relating to New Mexico and later wrote a book about his experiences with D. H. Lawrence, A Poet and Two Painters, which was first published in 1939 and made him well-known.
In 1923, Merrild went to Los Angeles for the next 30 years. There he created his most significant work, an output of several hundred works in a range of styles. Merrild's early works were cubist inspired paintings and watercolors. He later experimented with different materials in an effort to create works with three-dimensional outputs.
His works were mostly described as surrealistic and were included in recent survey exhibitions dealing with Surrealism in the United States. In 1942 he developed a totally new technique of painting which he called "flux", a process by which he alternatively poured or dripped paints onto a fluid surface. In some cases, the resulting works were entirely abstract while in others, concrete images could be recognized.
In 1952 Merrild suffered a heart attack and returned to his native country seeking less expensive medical care. He did not produce any more work in Denmark and died in 1954.
Pastel on paper mounted on canvas; 49 x 35 cm.
Giuseppe Santomaso was born in Venice. He studied at the Accademia di Belle Arti there from 1932 to 1934. In 1938 he began his work in graphics. In 1939 the artist traveled to Paris on the occasion of his first solo exhibition at the Galerie Rive Gauche. Santomaso participated in the Quadriennale of Rome in 1943 and executed illustrations for Paul Eluard’s Grand Air in 1945. In 1946 he was a founding member of the antifascist artists’ organization Nuova Secessione Artistica Italiana—Fronte Nuovo delle Arti in Venice.
Since 1948 Santomaso has participated often in the Venice Biennale, where he was awarded the Prize of the Municipality of Venice in 1948 and First Prize for Italian Painting in 1954. He received the Graziano Prize from the Galleria del Naviglio in Milan in 1956 and the Marzotto Prize at the Mostra internazionale di pittura contemporanea in Valdagno in 1958, among other awards. Santomaso taught at the Accademia di Belle Arti in Venice from 1957 to 1975. Particularly important for the development of his non-objective style is the journey to New York in 1957, on the occasion of his first exhibition in the United States at the Grace Borgenicht Gallery, during which the artist met the leading members of the Abstract expressionism. The Stedelijk Museum in Amsterdam gave the artist a solo exhibition in 1960. In 1961 he participated in the São Paulo Bienal and he traveled to Brazil the following year. A Santomaso retrospective toured from the Kunstverein in Hamburg to the Haus am Lützowplatz in Berlin and the Museum am Ostwall in Dortmund in 1965–66. In the meantime, the artist continue to produce graphic works. He contributed lithographs to On Angle, a book of Ezra Pound’s poetry published in 1971. His work appeared in the International Engraving Biennial in Cracow in 1972 and 1978. Solo exhibitions of his work were presented in 1979 by the Fondacio Joan Miró in Barcelona and the Staatsgalerie Moderner Kunst in Munich. The Borgenicht Gallery organized a Santomaso show for the spring of 1983.
Oil on canvas; 55.2 x 65.2 cm.
Birolli was born at Verona to a family of industrial workers. In 1923 he moved to Milan where he formed an avanguardist group with other artists such as Renato Guttuso, Giacomo Manzù and Aligi Sassu. In 1937 he was a member of the artistical movement called Corrente. in the same year he was arrested by the Fascist government: in the following years he largely left the painting activity to devote himself to the Communist propaganda and, later, to the support of the partisan resistance.
After World War II, in 1947, Birolli moved to Paris. Here his painting style changed swiftly under the influences of Henri Matisse and Pablo Picasso, moving first to a post-Cubist position and then to a somehow abstract form of lyrism.
He died suddenly at Milan in 1959.
Tempera on paper; each: 17.4 x 12 cm.
Brazilian painter and performance artist. In 1954 he began studies with Ivan Serpa at the Museu de Arte Moderna in Rio de Janeiro. He immediately devoted himself to a geometric vocabulary and joined the new Frente group (1954–6) and later the Neo-Concrete movement (1959–61). From 1964 to 1969 he made environmental, participatory events—among them Parangolé (1964), Tropicália (1967) and Apocalipopótesis (1968)—either in art centres or in the street. He was one of the leading exhibitors in the exhibition Nova objetividade brasileira (Rio de Janeiro, 1967), which reactivated the country’s avant-garde. In 1969 he exhibited an installation at the Whitechapel Art Gallery, London, and the following year his work was included in the show Information (New York, MOMA). A Guggenheim Fellowship took him in 1970 to New York, where he lived until 1978. During that period he prepared various multi-media projects in the form of texts, performances, films and environmental events. The 25 successive years of his Metaschemes, Bilaterals, Spatial Reliefs, Nucleii, Penetrables, Meteors, Parangolés, installations, sensory and conceptual projects from 1954 onwards showed a clear transition from modern to post-modern and represent his most finished achievements. Working with oppositions such as balance/effusion, contemplation/celebration and visual art/body art, he retained a radical stance. In 1981 in Rio de Janeiro his family created the H. O. Project, intended to care for, preserve, analyse and disseminate the work that he left.
Roberto Pontual
From Grove Art Online
© 2009 Oxford University Press
Oil on canvas; 155.5 x 235 cm.
Since 1945 Piero Dorazio studied architecture in Rome. At the same time first abstract works were executed. In 1947 he received a scholarship from the Ecole nationale supérieure des Beaux Arts in Paris, where he contacted Modern artists, who lived in Paris. He founded the galleries "Age d'Or" in Florence and Rome to diffuse avant-garde arts in Italy.
During a one year stay in the USA he got acquainted with leading characters of Abstract Expressionism like Marc Rothko, Robert Motherwell and Barnett Newman. At that time he also intensively studied Kandinsky's essays, whose theory of the immaterial aspects in painting influenced him strongly. In 1959 Piero Dorazio participated in the "documenta II" in Kassel. Afterwards he accepted a teaching position at the University of Pennsylvania, where Piero Dorazio founded the Institute of Contemporary Art in 1963 and was appointed professor in 1968.
In the 1960's the first compositions of ink ribbons were executed in his studio in New York, which dominated his work henceforth. After his return to Italy Dorazio moved to the former romanic cloister of Todi in Umbria. Piero Dorazio was regarded up to great age as one of the leading Italian artists of concrete colour painting.
Piero Dorazio died at the age of 77 in Perugia on 17 May 2005.
Collaboration with: Anton Eager - M Hunt
A series of works: "2/4 Deformations"
street-art gallery "Бэкграунд"
Art Loft, Samara, Russia / 2017
Group enrichment of scrofulous young silverfishboys also known as the Secret Service emitting loud yips from their pens ... "My love is anger, that's neh-eh-ever freeeeeeeee ..."
Are there any good art schools in Nevada?; maybe this came from California, I know there are art schools there. It hadto've come from someplace; Color Theory takes effort.
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In downtown Las Vegas, Nevada, on November 25, 2010, at the southeast corner of Fremont Street and 6th Street.
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Library of Congress classification ideas:
NA6810 Casinos—United States—Pictorial works.
NA3503 Decoration and ornament, Architectural—United States.
NK1570 Stripes.
NA3008 Marquees—Pictorial works.
TE228 Signalized intersections—Pictorial works.
NA6215 Central business districts—United States—Pictorial works.
F849.L35 Las Vegas (Nev.)—Pictorial works.
buttertwang presents: Frequência Modulada
GRÁFICA ÓPTICA
mosaïque disque géométrique optique
estación: ESPACIO saudade pelo futuro incarnata muse lives life alive in illicit harmony experience love organic architecture whole new way of looking and seeing immersed in light painting now with no filter only 100% real organic naturally occurring analog physical geometric mathematical motion blur un poco loco algoRhythmic ambient guru perfection liquid flow god's dj jet set design graffiti urb scribble urban bright chaos fractal iteration mad busy hectic highway freeway traffic strobing neon signs contemporary abstract expressionism vs. the representational and objective expression and communication of movement and light exploration by means of the rich language of film movies and music thru the fluent use of the vocabulary of moire patterns bokeh and high speed blurry light trails kinetic street art of photography long exposure multiple time distortion compression shooting dtla while driving fast smooth inspired by film noir Ridley Scott Blade Runner, Roman Coppola movie CQ, Ghost in the Shell, etc…
modern, abstraction, sublime, minimal, subliminal, disque, optique, moiré, orb, sun, star, planet, ambient, atmosphere, atmospheric, sci-fi, movie, cinematic, style, video, azulejos, mosaïque, mosaico, mosaic, retro, futuristic, poster
ortho projection mapping 3D dream subtle ambiance ying yang sun face mythological archetype symbolism que hubo cubos totally immersive cubic room cubism cubismo logo spin wax blacklight horizontal universal symbol exploding atomic FUEGO sunstar crown mandaLA wireFrame red rad radio flying out golden radial nuclear sepia vector in all directions at once ninja star ojos de brujo infographiste cyber goth rave punk rock ilusión óptica para vuestro placer retinal
Animated Blend Cymatics
Resonance Made Visible
Hard-as-Math Psichromatic Hipgnosis
#adobeillustrator #designer #abstract #algorithmic #vector #graphics #future #art #visual #artist #eye #minimalist #psychrometric #hipgnosis #opart #logo #packaging #record #cover #graphic #graphicdesign #lines #golden #light #reflection #symmetry #god #círculo #geometría #starwars
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My website: www.hollycawfieldphotography.net/
My Other Flickr Photostream:
www.flickr.com/photos/188106602@N04/
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Oil on canvas; 130 x 96.8 cm.
Alberto Magnelli was an Italian modern painter who was a significant figure in the post war Concrete art movement. Born in Florence he started painting and, despite lacking formal art education, by 1909 he was established enough to be included in the Venice Biennale. His initial works were in a Fauvist style. Magnelli joined the Florentine avant-garde befriending artists including Ardengo Soffici and Gino Severini. He also visited Paris where he met Guillaume Apollinaire and the Cubists including Pablo Picasso, Fernand Léger, and Alexander Archipenko. By 1915 had adopted an abstract style incorporating cubist and futurist elements.
Over the next few years Magnelli returned to figurative work and drifted away from the Italian avant-garde, which was becoming more supportive of Fascism, which he opposed. By 1931 he had returned to abstraction in the form of concrete art featuring geometric shapes and overlapping planes. He moved to Paris, where he joined the Abstraction-Création group and became friends with Wassily Kandinsky, Jean Arp and Sophie Taeuber. Following the invasion of France by the Nazis, Magnelli and his future wife, Susi Gerson, went to live in Grasse with several other artists including the Arps. Some of the group, including Gerson, were Jewish so they were forced to hide. Despite this, the group was able to produce a number of collaborative works.
Following the Second World War, Magnelli returned to Paris which was to be his home for the rest of his life. He became a major figure in the post war concrete art movement and influenced artists such as Victor Vasarely, Nicolas de Staël as well as the concrete artists in South America such as Hélio Oiticica. He again exhibited at the Venice Biennale, this time with a whole room. Major galleries organized retrospectives of his work.
Oil on canvas; 6 ft 4 3/4 in x 6 ft 4 3/4 in.
She studied in London at Goldsmiths College (1949–52) and the Royal College of Art (1952–5). From 1958 to 1959 she worked in an advertising agency while painting in a pointillist technique. She was encouraged in this by her teacher, the painter Maurice de Sausmarez (d 1970), who directed her to study the art of Seurat. Her interest lay in the energy and color vibrations radiated by objects, seen in Pink Landscape (1960) which depicts the violent color vibrations given off by an Italian landscape in intense heat. She later conveyed a similar effect of heat on landscape, from shale on a French mountain, in Static 3 (1966) composed of 625 tiny ovals. . She won a first prize at the Venice Biennale in 1968. Other notable works include “Drift No. 2” (1966) and “Nineteen Greys” (1968).
Gouache on paper on canvas; 95 x 97 cm.
Carla Accardi was born in Trapani, Italy. She completed her classical studies in high school, and in 1943 she trained privately for an art diploma. She continued her art training at the Accademia di Belle Arti of both Palermo and Florence. In 1946 she moved to Rome with the painter Antonio Sanfilippo, who she married a few years later. Accardi quickly became part of the inner circle of the Art Club and was a frequent visitor to Consagra’s studio. There she met such artists as Attardi, Dorazio, Guerrini, Perilli, and Turcato, with whom she signed the manifesto of the Forma 1 group in 1947. She took part in many group shows in Italy and abroad; her first solo exhibition was in 1950 at the Galleria Numero in Florence. During the 1950s Accardi developed a reductivist visual language that became more and more abstract. She focused on signs and limited her palette to black and white, thus linking herself visually to the major artists of the Art Informel movement. Between 1954 and 1959, Michel Tapiè, an art critic and promoter of the movement, invited her to take part in several exhibitions that he organized in Italy and abroad.
In the 1960s Accardi joined the Continuità group; she began to reintegrate color into her work, making references to metropolitan culture and optical illusion. She continued to explore new possibilities by experimenting with diverse media, eventually beginning to paint on plastic transparent supports, which emphasised the luminous surface of the painting. She took part in the Venice Biennale several times, appearing first in 1964 and again in 1976 and 1978.
In the 1980s Accardi returned to canvas, and her visual language changed again as she shifted her focus to the use of signs and chromatic juxtapositions. She showed again at the Venice Biennale in 1988 and took part in the most important retrospectives of twentieth-century Italian Art. Among these was The Italian Metamorphosis 1943–1968, held at the Solomon R. Guggenheim Museum, New York, in 1994. She was nominated a member of the Accademia di Brera in Milan in 1996, and the following year she became part of the Venice Biennale Commission as an advisor. Her work is part of many important collections, including the Galleria Nazionale d’Arte Moderna in Rome, the Museo d’Arte Contemporanea of Castello di Rivoli (Turin), the Gallerie Civiche of Modena and Bologna, the Palazzo Reale in Milan, and the Museo Civico in Turin. The artist currently lives and works in Rome.
Emulsion on canvas; 221.9 x 222.9 cm.
She studied in London at Goldsmiths College (1949–52) and the Royal College of Art (1952–5). From 1958 to 1959 she worked in an advertising agency while painting in a pointillist technique. She was encouraged in this by her teacher, the painter Maurice de Sausmarez (d 1970), who directed her to study the art of Seurat. Her interest lay in the energy and color vibrations radiated by objects, seen in Pink Landscape (1960) which depicts the violent color vibrations given off by an Italian landscape in intense heat. She later conveyed a similar effect of heat on landscape, from shale on a French mountain, in Static 3 (1966) composed of 625 tiny ovals. . She won a first prize at the Venice Biennale in 1968. Other notable works include “Drift No. 2” (1966) and “Nineteen Greys” (1968).
Oil on canvas; 91 x 64 cm.
Since 1945 Piero Dorazio studied architecture in Rome. At the same time first abstract works were executed. In 1947 he received a scholarship from the Ecole nationale supérieure des Beaux Arts in Paris, where he contacted Modern artists, who lived in Paris. He founded the galleries "Age d'Or" in Florence and Rome to diffuse avant-garde arts in Italy.
During a one year stay in the USA he got acquainted with leading characters of Abstract Expressionism like Marc Rothko, Robert Motherwell and Barnett Newman. At that time he also intensively studied Kandinsky's essays, whose theory of the immaterial aspects in painting influenced him strongly. In 1959 Piero Dorazio participated in the "documenta II" in Kassel. Afterwards he accepted a teaching position at the University of Pennsylvania, where Piero Dorazio founded the Institute of Contemporary Art in 1963 and was appointed professor in 1968.
In the 1960's the first compositions of ink ribbons were executed in his studio in New York, which dominated his work henceforth. After his return to Italy Dorazio moved to the former romanic cloister of Todi in Umbria. Piero Dorazio was regarded up to great age as one of the leading Italian artists of concrete color painting.
Piero Dorazio died at the age of 77 in Perugia on 17 May 2005.
collaboration work
Anton Eager & Kamel
"Present Time"
Italian park / Urban happening "Art doesn't smell"
Togliatti, Russia / 2017
Совместная работа
Anton Eager и Kamel
"Настоящее Время"
Итальянский Парк / городской хэппенинг " Искусство не пахнет"
Тольятти, Россия / 2017
Oil on paper; 24 1/8 x 36 in.
Mario Schifano was an Italian painter and collagist of the Postmodern tradition. He also achieved some renown as a film-maker and rock musician. He is considered to be one of most significant and pre-eminent artists of Italian postmodernism, alongside contemporaries such as Francesco Clemente, Sandro Chia and Giulio Paolini. His work was exhibited in the famous 1962 "New Realists" show at the Sidney Janis Gallery with all the young Pop art and Nouveau réalisme luminaries, including Andy Warhol and Roy Lichtenstein. He became part of the core group of artists comprising the "Scuola Romana". Reputed as a prolific and exuberant artist, he nonetheless struggled with a life-long drug habit that earned him the label maledetto, or "cursed".
Fall 2012 - Geometric Abstract Art in Paintings and Prints and Contemporary Photographic Prints by Contemporary Artist Bryce Hudson.
As always, everything can be seen at www.brycehudson.com
« Analogikonumerikoglyphe » de l’analogique au digital , du numérique à l astroglyphe Astroglyphe bleu à Château Thierry photo par Alex Perret
Gouache on cardboard; 39 x 42 cm.
Brazilian painter and performance artist. In 1954 he began studies with Ivan Serpa at the Museu de Arte Moderna in Rio de Janeiro. He immediately devoted himself to a geometric vocabulary and joined the new Frente group (1954–6) and later the Neo-Concrete movement (1959–61). From 1964 to 1969 he made environmental, participatory events—among them Parangolé (1964), Tropicália (1967) and Apocalipopótesis (1968)—either in art centres or in the street. He was one of the leading exhibitors in the exhibition Nova objetividade brasileira (Rio de Janeiro, 1967), which reactivated the country’s avant-garde. In 1969 he exhibited an installation at the Whitechapel Art Gallery, London, and the following year his work was included in the show Information (New York, MOMA). A Guggenheim Fellowship took him in 1970 to New York, where he lived until 1978. During that period he prepared various multi-media projects in the form of texts, performances, films and environmental events. The 25 successive years of his Metaschemes, Bilaterals, Spatial Reliefs, Nucleii, Penetrables, Meteors, Parangolés, installations, sensory and conceptual projects from 1954 onwards showed a clear transition from modern to post-modern and represent his most finished achievements. Working with oppositions such as balance/effusion, contemplation/celebration and visual art/body art, he retained a radical stance. In 1981 in Rio de Janeiro his family created the H. O. Project, intended to care for, preserve, analyse and disseminate the work that he left.
Roberto Pontual
From Grove Art Online
© 2009 Oxford University Press