Bram Bogart

Following his education Bogart took a job with an advertising concern in Rotterdam. Subsequent to World War Two the then twenty-five-year-old painter settled in Paris, France where he was among the founders of Art Informel. At first he experimented with cubism and figurative drawing, depicting flowers, still life and self-portraits. In the 1950s he began to concentrate on working with impasto. With thick layers of boldly applied and colourful paint, he developed an expressionist style which became more abstract with time.

In 1961 he and his later to be wife Leni permanently relocated to Belgium and in 1969 he became a Belgian citizen. Here he began to experiment with a more three-dimensional medium, a mix of mortar, siccative, powdered chalk, varnish, and raw pigment, applied to large, heavy wooden backing structures.

Bogart exhibited frequently in Antwerp and Ghent. In 1971 he represented Belgium at the Venice Biennale.

In 2011 the Bogart presented an exhibition in celebration of his 90th birthday, a display of his Monochrome paintings, held at the Bernard Jacobson Gallery in London. A retrospective of his work was also exhibited at Galerie Jean-Luc and Takako Richard in Paris. Bogart died May 2, 2012 in Sint-Truiden, Belgium at the age of 90.

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John Stezaker

John Grenville Stezaker (born 1949), is a British conceptual artist.

Stezaker attended the Slade School of Art in London in his early teens,[1] he graduated with a Higher Diploma in Fine Art in 1973. In the early 1970s, he was among the first wave of British conceptual artists to react against what was then the predominance of Pop art.

Solo exhibitions for Stezaker were rare for sometime, however, in the mid-2000s, his work was rediscovered by the art market; he is now collected by several international collectors and museums.

His work is surreal in tone and is often made using collage and the appropriation of pre-existing images such as postcards, film stills, and publicity photographs. Art historian Julian Stallabrass said, “The contrast at the heart of these works [by Stezaker] is not between represented and real, but between the unknowing primitives of popular culture, and the conscious, ironic artist and viewer of post-modern images.” One work included in an exhibition at Salama-Caro Gallery, London, in 1991, depicted an image of a punch clock together with the caption “Why Spend Time on an Exhibition Like This?” Colin Gleadell wrote in The Daily Telegraph in 2007 that Stezaker “is now being hailed as a major influence on the Young British Art movement,” in reference to Young British Artists.

Until 2006, Stezaker was Senior Tutor in Critical and Historical Studies at the Royal College of Art in London.

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Michael Tyzack

Michael Tyzack, who had been taught at the Slade in London by William Coldstream, Lucian Freud and William Townsend, was awarded the First Prize at the John Moores Liverpool Exhibition in 1965, when the American art critic Clement Greenberg was the jury chairman.  During the Sixties and Seventies he exhibited at dozens of galleries, including Axiom, Demarco and Mappin; at this time he was also a professional jazz trumpeter. Tyzack moved to Iowa to fill a teaching post in 1971 – originally planning to stay only one year. However, he and his family decided to remain in America after he was offered the post of Professor of Fine Arts at the College of Charleston, where he lived until his death in 2007. Although his emigration to the United States drew Michael Tyzack away from England at a key point in his artistic career, his role as a leading figure in the development of British Abstraction during the ‘ 60s and ‘ 70s is evident from his exhibition record. His work is represented in a large number of public collections worldwide as a result. 

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John Knuth

John Knuth’s creative conjurings challenge traditional notions of art making, even in this millennium. His paintings force extreme tension between the sacred and the profane, creating stunning works by way of indelicate techniques. Knuth’s mission is to take something traditionally regarded as base, and to make it into something magnificent, where the materials feel secondary to the radical result. Knuth’s approach is alchemical. Like an art world diviner, he conjures the elements, from making burn paintings with distress flares and metallic space blankets to using fly regurgitation to make the most incandescent, shimmering paintings. He has perfected his process using flyspeck, which can be said to fall within the art historical continuum that includes the Pre-Raphaelites’ Mummy Brown or Chris Ofili’s elephant dung.

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Paul Feiler

Paul Feiler was a German-born artist who was a prominent member of the St Ives School of art: he has pictures hanging in major art galleries across the world.

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Elisabeth Frink

Dame Elisabeth Jean Frink CH DBE RA was an English sculptor and printmaker. Her Times obituary noted the three essential themes in her work as “the nature of Man; the ‘horseness’ of horses; and the divine in human form”.

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John MacAllister

John McAllister’s luminous, luxurious oil paintings of interiors, landscapes, and still lifes reflect the artist’s ongoing explorations of light. Inspired by the work of Pierre Bonnard, Georges Braque, and Henri Matisse, McAllister works from a seductive palette of vibrant hues, typically limited to warm reds, purples, oranges, and pinks. With their dark backgrounds and ghostly foregrounds, his canvases can suggest the coloration of film negatives—one of many nods to photography throughout the artist’s practice, along with a frequent use of off-kilter framing. McAllister has made witty paintings of images of paintings, and of overlapping images, playing the roles of both artist and viewer. McAllister has exhibited in London, Los Angeles, New York, Berlin, Brussels, Tokyo, and beyond.

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Billy Childish

Alex Jones

Alex Jones is an artist based in Brighton, East Sussex. His work is primarily concerned with systems of language as methods of construction. Through both painting and drawing on canvas and paper, he utilises our understanding of how language is applied to create formal structures made of language and the space around it.

He applies more rigid parameters that are loosely applied, enjoying the relationship between formal rules and an apathy towards their adherence. The painterly quality is both highly considered and ordered but with a slack looseness, a casual application to what could be strict rules. His use of language as a building tool rather than one of communication renders any descriptive or narrative imagery depicted perfunctory, the words are there for how they sit, not what they say.

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Sulette van der Merwe

Sulette van der Merwe (b. 1982) lives and works in Cape Town, South Africa. She enjoys philosophy and art history, and recent works explore the theme of Heterotopia, a concept used to describe spaces that have more layers of meaning than the immediately obvious. Pop art, surrealism and digital culture also feature prominently in her paintings and video animations.

“I am interested in the narrative abstractions that arise when information from disparate spaces such as illustration, internet sourced images and photography are combined. It is an intuitive and conceptually playful experience to observe the cross chatter between the physicality of painting and the ephemeral nature of the online experience.”

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Tafadzwa Masudi

Tafadzwa Masudi (b. 1988) started painting at an early age in Harare while assisting a family friend who introduced him to the visual arts. 

In 2010 he moved to South Africa and started working in a clothing factory until 2020 when he was laid off. He saw this as an opportunity to paint full-time and soon his work started featuring in group exhibitions at galleries in Cape Town. 

His brightly coloured paintings depict scenes filled with balloons, people and patterns. Observed through the lens of a migrant person existing in a world that is not his own, the works reflect on optimism and the pursuit of a better future. 

“The balloons are not just masks of optimism or celebration, they also represent the composed pressure under which some of us are. A balloon can pop any moment, yet it represents happiness and celebration. That balloon is me staying calm under difficult circumstances while chasing the dream of a bright future”. 

2021 is proving to be an eventful year with his first solo exhibition and participation in the Turbine Art Fair in Johannesburg and Art X Lagos in Nigeria lined up. 

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Eric Fischl

Since the 1980s, when he rose to prominence alongside artists including Julian Schnabel, David Salle, and Jean-Michel Basquiat, Neo-Expressionist Eric Fischl has painted voyeuristic, large-scale paintings of American suburbia. Inspired by his own middle-class upbringing on Long Island, the artist captures both the mundane and the taboo; in bright, gestural strokes, he depicts scenes of grief, inequality, adolescent sexuality, and political malaise. Fischl imbues his subjects, from beachgoers to poolside families, with a sense of gravity and foreboding as he manipulates light and shadow. In recent years, he has also painted deadpan scenes of art fairs. Fischl has exhibited widely in New York, Los Angeles, London, Paris, and beyond. His work has fetched seven-figure prices at auction and been acquired for the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the Museum of Modern Art, and the Louisiana Museum of Modern Art, among others.

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Sam Taylor-Johnson

Samantha Louise Taylor-Johnson OBE is a British filmmaker and photographer. Her directorial feature film debut was 2009’s Nowhere Boy, a film based on the childhood experiences of the Beatles songwriter and singer John Lennon. She is one of a group of artists known as the Young British Artists.

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Joana Vasconcelos

Joana Vasconcelos (born 1971) is a Portuguese artist known for her large-scale installations. Vasconcelos was born in 1971 in Paris, France. Her family returned home to Portugal after their exile to France and following the Carnation Revolution in 1974. She studied at the Centro de Arte & Comunicação Visual in Lisbon. In 2009 she received the Order of Prince Henry. She lives and works in Lisbon

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Emmanuel Taku

A graduate in Visual Arts and Textiles of the Ghanatta Institute of Art and Design, Emmanuel Taku studied with well-known figurative painters Amoako Boafo and Otis Quaicoe, and has been practicing different forms of portraiture for more than ten years. His subjects are often clothed in striking floral prints, which he prints on the canvas using a distinct silk screen method. Taku’s works incorporate a variety of materials, as he applies textiles and newspapers onto canvas, fiberglass, fiber net, mesh, or plywood.

Reminiscent of Malick Sidibé, the artist combines his focus on portraiture with a longstanding passion for textiles and patterns, passed on to him through his mother. Taku’s paintings depict black people striking a pose, as if challenging the viewer to take a closer look. For the artist, adding layers of abstraction to his portraits is a way to reclaim dominant narratives about black bodies and to reject their objectification. With their supernatural appearance, Taku lends his subjects the status of demi-gods or mythical heroes. His practice thereby positions black people as worthy of awe and reverence, constituting an important voice in the recent rise of black portraiture in contemporary art.

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Ayşe Erkmen

Ayşe Erkmen is a visual artist recognized as the “one of the foremost Turkish artists.” She is living and working in Berlin and in Istanbul. Influenced by specific sites, histories and geographies Ayşe Erkmen’s works takes the social and physical environment that she is in.

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Donald Judd

Donald Clarence Judd was an American artist associated with minimalism. In his work, Judd sought autonomy and clarity for the constructed object and the space created by it, ultimately achieving a rigorously democratic presentation without compositional hierarchy.

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John Armleder

John Armleder is a Swiss performance artist, painter, sculptor, critic, and curator. His work is based on his involvement with Fluxus in the 1960s and 1970s, when he created performance art pieces, installations and collective art activities that were strongly influenced by John Cage.

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Mario Schifano

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 the most significant and pre-eminent artists of Italian postmodernism. His work was exhibited in the famous 1962 “New Realists” show at the Sidney Janis Gallery with other young Pop art and Nouveau réalisme innovators, including Andy Warhol and Roy Lichtenstein. He became part of the core group of artists comprising the “Scuola di Piazza del Popolo” alongside Franco Angeli and Tano Festa. Reputed as a prolific and exuberant artist, he nonetheless struggled with a lifelong drug habit that earned him the label maledetto, or “cursed”.

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Loie Hollowell

Loie Hollowell is an American painter. She was born in 1983 and raised in Northern California. She currently lives and works in New York City.

Hollowell creates abstract biomorphic paintings that suggest spirituality and sexuality. Hollowell’s work is inspired by tantric painting traditions, and she has been compared to the artist Georgia O’Keeffe.

Hollowell’s paintings have been described as “abstract body landscapes” by Martha Schwendener of the New York Times. Known for paintings and drawings that explore the bodily landscape, Loie Hollowell’s practice exists in the liminal space between abstraction and figuration, otherworldly and corporeal.

Originating in autobiography, her work explores themes of sexuality, pregnancy and birth. Hollowell’s geometric compositions use symbolic shapes such as the mandorla, ogee and lingam to build her distinctive visual lexicon. In referencing her own personal experiences, Hollowell’s paintings are at once personal and universal in their fierce vulnerability. Her use of symmetry – often anchoring her compositions in a central, singular axis – relates her paintings to her own body as well as the natural world.

For Hollowell, the scale of her work is particularly significant as she creates each work in direct correlation with the size of the body part depicted, be it her head, breasts, groin, or entire body. Furthering her exploration of physicality, Hollowell adheres sculpted forms onto her canvases to confound expectations of painting. Hollowell’s protruding forms are blended seamlessly, forcing the viewer to move around the canvas to determine whether it is an illusory flat surface or three-dimensional. This adds a playful, performative aspect to her work that speaks to Hollowell’s masterful manipulation of space, surface, light and shadow.

With strong colors, varied textures, and geometric symmetry, Hollowell’s practice is situated in lineage with the work of American artists like Agnes Pelton, Georgia O’Keeffe and Judy Chicago. She is also greatly influenced by the work of the California Light and Space Movement as well as Neo-Tantric painters like Ghulam Rasool Santosh and Biren De.

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Alexander Calder

Alexander Calder was an American sculptor known both for his innovative mobiles (kinetic sculptures powered by motors or air currents) that embrace chance in their aesthetic, and static “stabiles”[1] monumental public sculptures. He didn’t limit his art to sculptures; he also created paintings, jewellery, theatre sets and costumes.

Calder preferred not to analyse his work, saying, “Theories may be all very well for the artist himself, but they shouldn’t be broadcast to other people.”

Born into a family of artists, Calder’s work first gained attention in Paris in the 1920s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974).

Calder’s work is in many permanent collections, including the Whitney Museum of American Art, the Guggenheim Museum, the Museum of Modern Art, the National Gallery of Art in Washington, D.C., and the Centre Georges Pompidou in Paris. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1996).

Although primarily known for his sculpture, Calder also created paintings and prints, miniatures (such as his famous Cirque Calder), theater set design, jewelry design, tapestries and rugs, and political posters. He was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War.

An important Calder work is the monumental “Floating Clouds” (1952–1953) of the Aula Magna (Central University of Venezuela) of the University City of Caracas in Venezuela. This work is a Unesco World Heritage Site. Calder’s clouds were specially designed to combine art and technology, making the auditorium one of the top 5 university auditoriums in the world by sound quality.

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Donald Sultan

Donald K. Sultan (born 1951) is an American painter, sculptor, and printmaker, particularly well-known for large-scale still life paintings and the use of industrial materials such as tar, enamel, spackle and vinyl tiles. He has been exhibiting internationally in prominent museums and galleries, and his works are included in important museum collections all over the globe. Sultan is the recipient of numerous honors and awards for his artistic achievements.

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Robert Longo

Robert Longo is a Pictures Generation American artist, filmmaker, photographer and musician. Longo became first well known in the 1980s for his Men in the Cities drawing and print series, which depict sharply dressed men and women writhing in contorted emotion.

Although he studied sculpture, drawing remained Longo’s favorite form of self-expression. However, the sculptural influence pervades his drawing technique, as Longo’s “portraits” have a distinctive chiseled line that seems to give the drawings a three-dimensional quality. Longo uses graphite like clay, molding it to create images like the writhing, dancing figures in his seminal Men in the Cities series. For that series, Longo photographed his friends lurching backward, collapsing forward or sprawled on invisible pavement. After enlarging the pictures through a projector, he and an artist assistant drew them in sizes ranging from three-quarter scale to larger than life-size. In the process, Longo often dramatized poses and always standardized attire into quite formal, black-and-white clothing. The idea for this work came, in 1975, from a still image in Rainer Werner Fassbinder’s film The American Soldier. According to art critic William Wilson of the Los Angeles Times, the pictures recall nothing so much as the final scene in Ingmar Bergman’s The Seventh Seal. About four years passed before Longo turned the vision of a man shot in the back into a monumental series of drawings. He produced about 60 Men in the Cities between 1979 and 1982. One drawing from this series was used as the album cover to Glenn Branca’s album The Ascension. As a consequence, in his 30s, Longo was among the most widely publicized, exhibited and collected artists of the 1980s along with the likes of Cindy Sherman and David Salle. However, several critics have commented that Longo had lost his way as a visual artist by the mid-’80s.

Working on themes of power and authority, Longo produced a series of blackened American flags (“Black Flags” 1989–91) as well as oversized hand guns (Bodyhammers 1993–95). From 1995 to 1996 he worked on his Magellan project, 366 drawings (one per day) that formed an archive of the artist’s life and surrounding cultural images. “Magellan” was followed by 2002’s Freud Drawings, which reinterpreted Edmund Engelman’s famous documentary images of Sigmund Freud’s flat, moments before his flight from the Nazis. In 2002 and 2004 he presented Monsters, Bernini-esque renderings of massive breaking waves and The Sickness of Reason, baroque renderings of atomic bomb blasts. Monsters was included in the 2004 Whitney Biennial.

To create works such as Barbara and Ralph, Longo projects photographs of his subjects onto paper and traces the figures in graphite, removing all details of the background. After he records the basic contours, his long-time illustrator, Diane Shea, works on the figure for about a week, filling in the details. Next, Longo goes back into the drawing, using graphite and charcoal to provide “all the cosmetic work”. Longo continues to work on the drawing, making numerous adjustments until it is completed about a week later.

In 2013, Longo’s artwork was featured in an article in the men’s magazine, Man of the World along with an article discussing his life and career.

In March 2013, The Lexander Magazine reviewed Longo’s 1982-83 diptych entitled Pressure, highlighting it as the “penultimate visual anthem of the era,” expanding upon Neal Benezra’s 1988 analysis of the work as having been “the most representative work of art of the 1980s.”

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John Hoyland

John Hoyland RA (12 October 1934 – 31 July 2011) was a London-based British artist. He was one of the country’s leading abstract painters.

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David Shrigley

David John Shrigley OBE is a British visual artist. He lived and worked in Glasgow, Scotland for 27 years before moving to Brighton, England in 2015.

As well as authoring several books, he directed the video for Blur’s “Good Song” and also for Bonnie ‘Prince’ Billy’s “Agnes, Queen of Sorrow”. In 2005 he designed a London Underground leaflet cover. Since 2005, he has contributed a cartoon for The Guardian‘s Weekend magazine every Saturday. Other projects have included the album Worried Noodles (Tom Lab, 2007) where musicians interpret his writings as lyrics, including collaborations by David Byrne, Hot Chip, and Franz Ferdinand.

Shrigley co-directed a short film with director Chris Shepherd called Who I Am And What I Want (2005), based on Shrigley’s book of the same title, with Kevin Eldon voicing its main character, Pete. Shrigley also produced a series of drawings and t-shirt designs for the 2006 Triptych festival, a Scottish music festival lasting for three to four days in three cities. He also designed twelve different covers for Deerhoof’s 2007 record, Friend Opportunity. In the same year he also designed the title sequence for the film Hallam Foe, as well as the drawings and the writing in Hallam’s on-screen diaries.

Shrigley’s mascot for Scottish football team Partick Thistle, “Kingsley” in George Square, Glasgow

In 2014, Jonathan Jones reviewed Shrigley’s work Brass Tooth, writing, “David Shrigley must have had a big, toothy grin when he created multiple editions of his sculpture Brass Tooth, which goes on sale for £1,200 a pop at the London art fair this week. It is a cast of a single tooth – including the roots – and is typical of Shrigley’s sly, subversive, humorous art in how it brings a modern art cliche crashing down to Earth”.

In 2015, he designed “Kingsley”, a mascot for Scottish football team Partick Thistle as part of a sponsorship deal. The mascot’s design was the object of some amusement, with Scottish BuzzFeed reporter Jamie Ross describing it as “based on every nightmare I had as a child.”

Shrigley also undertook a residency at Auckland’s Two Rooms in 2015, during which he painted for the first time since his graduation from The Glasgow School of Art in 1991. He said that the residency presented ‘an opportunity to explore a different medium and explore what you can do with “that” versus what you do with “this”.’

Shrigley’s sculpture Really Good was installed on Trafalgar Square’s Fourth plinth in September 2016 until March 2018. The bronze cast of a fist with an out-of-proportion thumbs-up was the winning commission for the Fourth Plinth Project, which has been inviting artists since 1999 to make a proposal for the empty plinth, originally intended to hold an equestrian statue of William IV that was never made. “I made a drawing of an elongated thumb that said everything is good and I wrote some text that sounded like some sort of weird political satire: If we make this sculpture, we can make the world a better place through some kind of self–fulfilling prophecy.”[

In 2019, he designed the yellow and red card of the AS Velasca.[

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Richard Smith

Richard Smith, CBE (27 October 1931 – 15 April 2016) was an English painter and printmaker. He produced work in a range of styles, but was often associated with colour field painting.

Smith’s early work drew on packaging and advertising, which led to his being associated by some critics to the Pop Art movement. Smith stated that his work was “often physically related to hoardings or cinema screens which never present objects actual size; you could drown in a glass of beer, live in a semi-detached cigarette packet”. However, his concerns were largely formal. His works from this period, such as Panatella (1961) can be seen as abstract works whose scale, handling of paint and use of colour show the influence of American colour field painters such as Mark Rothko and Sam Francis, and he tried to integrate their expressive painterly concerns with an exploration of the experience of mass culture. As an attempt to make a connection between ‘high’ art and popular culture Smith’s work differs from the work of his British Pop contemporaries, who were more concerned with iconography. Smith stated that “My interest is not so much in the message as in the method”

In 1963 Smith progressed to an examination of the two-dimensional nature of painting. In Vista he added a shaped extension to the rectangular canvas, and in works such as Piano and Giftwrap progressed to extending the surface of the painting out into three-dimensional space. Despite the three-dimensional element of these works, Smith insisted on their identity as paintings: saying “Since I have always retained a wall, there is no question of a multifaceted sculptural object”  Smith never produced any free standing sculptures, preferring to challenge the conventions of painting by working in an area between painting and sculpture.

In 1972 he exhibited the first of what are called the “kite paintings”, in which rather than using a conventional stretcher the canvas is tensioned by cords and structures of aluminium tubing, which become an element in the composition of the works. This both reduced the strength of the edge of the canvas while at the same time drawing attention to its contour. Smith’s new found interest in the edge of a picture is shown by the concentration of incident there in works such as 3 square 2.

The concerns of these works also appear in his small scale work of the time, where the paper was cut and folded, and often include elements fastened to the work by paperclips or pieces of knotted string.

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Piero Dorazio

Dorazio was born in Rome. His father was a civil servant, while his mother was interested in history and art. Dorazio attended Julius Caesar Lyceum (high school) in Rome. The family fled to their homeland province of Abruzzo in 1943. After the war, Dorazio worked briefly as a translator for the British Army and then studied architecture at the University of Rome.

He was influenced by futurists such as Gino Severini, Antonio Corpora, Enrico Prampolini, and Giacomo Balla, attracting him to painting. An aversion to their right-wing views pushed him to align instead with left-leaning artists like Renato Guttuso. Along with Pietro Consagra, Achille Perilli, and Giulio Turcato, he helped formulate a manifesto and establish a group of abstract artists in 1947 called Forma I. Although imbued with socialist leanings, the group did not follow the realist social commentary furthered by Guttuso but proposed to reclaim abstraction from Futurism. In 1947 Dorazio won a prize and a stipend from the French government to study at the École des Beaux-Arts of Paris.

Dorazio, along with artists Mino Perilli and Guerrini, helped found L’Age d’Or in 1950. It was a bookstore/gallery space dedicated to abstract art. In 1952, he promoted the foundation Origin with Alberto Burri, Ettore Colla and others, and edited the magazine Arti Visive. As a representative of Italy, in 1953 he traveled for the first time to the United States to participate in the International Summer Seminar at Harvard University. That fall, he moved to New York City and stayed through 1954. In October 1953, Dorazio had his first solo exhibition at George Wittenborn’s One-Wall Gallery.

He published La Fantasia Dell-Arte Nella Vita Moderna” in 1955, a review of modern art in Italy. Regarding this book, reviewer Christopher Masters states that Dorazio advanced his belief, perhaps with a surfeit of optimism, that “abstract art could change the world… That just as science and technology were destroying the barriers between different cultures, so the new ‘universal style’ would lead to a ‘universal civilisation’.”

He was invited to teach at the Graduate School of Fine Arts program at the University of Pennsylvania School of Design in 1959. He taught painting there for one semester each year from 1960 to 1969, splitting his time between the United States and Italy. In 1970 he returned to live and work full-time in Rome. In 1974 he moved his studio from Rome to Umbria, near Todi. Peter Iden, founding director of the Museum für Moderne Kunst Frankfurt from 1978-1987, acquired three works by Dorazio from 1981 to 1983 (Oracolo, 1959; Blue Hearttrap, 1961; Stridente, 1982-83) for the museum collection. These were part of the museum exhibitions in Frankfurt in 1985 and Milan in 1987. In the 1990s, the works were temporarily loaned to the European Central Bank.[9] Dorazio continued to work and exhibit until 2004.

Described as an “outspoken, independent character” who was the “opposite of politically correct”, Dorazio’s use of materials and colors stayed constant over time. He is mostly known for paintings with thick bands of bright color and crosshatched grids. While abstract, his paintings do not neglect detail or complexity. His style is in line with what Clement Greenberg later described as “Post-painterly abstraction”.

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Giulio Turcato

Giulio Turcato was born in Mantua. He attended the Accademia di Belle Arti di Venezia in the early 1930s before moving to Milan and finding work in the firm of the architect Giovanni Muzio in 1937. A chronic pulmonary illness forced him to frequent stays in sanatoriums. Having taken up painting, he found inspiration in the Cubist art of Pablo Picasso, eventually developing an abstraction with expressionist overtones. He participated to the 23rd Venice Biennale in 1942. A few months later he moved to Rome and joined the Italian resistance movement.

At the end of the War, Turcato reprised his artistic activities. He was one of the signatories of the manifesto of the Nuova Secessione Artistica Italiana in 1946, and a founding member of the Marxist-leaning, abstract art group Forma 1 in 1947, together with Ugo Attardi, Pietro Consagra, Piero Dorazio, Mino Guerrini, Achille Perilli and Antonio Sanfilippo. In 1948, he helped founding the Fronte Nuovo delle Arti. The decision of the Venice Biennale to dedicate a room exclusively to his work at the 29th edition in 1958 contributed to his international standing. In 1959 Turcato was invited to Documenta II. In 1961 he joined the Continuità group.

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Mohammad Ali Talpur

Mohammad Ali Talpur is a well known contemporary Pakistani artist. He is considered as the only minimalist artist in Pakistan because of his linear drawings. He is teaching at National College of Arts and works at his studio in Lahore.

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Hunt Slonem

Auguste Rodin

François Auguste René Rodin was a French sculptor generally considered the founder of modern sculpture. He was schooled traditionally and took a craftsman-like approach to his work. Rodin possessed a unique ability to model a complex, turbulent, and deeply pocketed surface in clay.

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Katrin Fridriks

Drawing influences from contemporary pop art, graffiti, and the calligraphic arts, Katrin Fridriks paints hyperkinetic abstract compositions filled with swirls of vibrant color, as well as large-scale installations that address environmental and political issues such as genetic research and the exhaustion of natural resources. Fridriks has painted monochromatic works—black on white, and white on black—as well as color-rich compositions whose tangles of drips and brushstrokes have drawn comparisons with the paintings of Jackson Pollock. She has also created work for commercial brands including Land Rover and Ralph Lauren.

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Marieta Chirulescu

Marieta Chirulescu’s work is the result of an ongoing preoccupation with the aesthetic and conceptual contingencies of painting. The abstractions for which she is best known reference the formalism of Color Field painting, superimposed with the array of digital printing methods available to the public today. Drawing from an extensive archive of imagery, Chirulescu uses scans, screen shots and the technical irregularities that occur throughout digital processes to alter personal photographs as well as those taken by her father during the Romanian dictatorship.

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Leo Gabin

Artist collective Leo Gabin (consisting of Lieven Deconinck, Gaëtan Begerem, and Robin De Vooght) redefines the tradition of found-object art by harvesting and recycling digital content into new configurations. Working across video, digital media, drawing, print, painting, and sculpture, they fashion their work directly from the internet’s unending proliferation of social networking content and images of celebrities, sex, and violence, often physically incorporating printed or downloaded content into their practice. The group are perhaps best known for their satirical video montages and frenzied, calligraphic, partially collaged abstract paintings, the latter revealing the influence of street art.

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Bernard Aubertin

Bernard Aubertin was a French artist born in 1934 in Fontenay-aux-Roses, France. He died in August 2015 in Reutlingen, Germany. He met Yves Klein in 1957 and joined the Zero movement during the 1960-1961 period. One of his text was published in the Zero magazine, vol 3. July 1961.

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Sam Moyer

All of Sam Moyer’s multimedia projects have a common quality of borrowing images or materials from everyday life, and manipulating them or reproducing them into abstraction. With a background in photography, Moyer makes works that are monochromatic, modular, and rooted in geometry, with a focus on texture, pattern, and tactility. For example, her “Worry Rug” series (2009) is made from cheaply purchased Ikea rugs that she then dyed and picked apart, while another series of drawings uses pocket-sized book covers as their basis. Moyer has also become well known for using dyed and crumpled stretches of fabric that she mounts onto wood panels by ironing. These pieces frequently have subtle patterns created using bleach and ink.

Works

Katja Novitskova

Katja Novitskova (born 1984 in Tallinn, Estonia) is an Estonian installation artist. She lives and works in Amsterdam and Berlin. Her work focuses on issues of technology, evolutionary processes, digital imagery and corporate aesthetics. Novitskova is interested in investigating how, “media actively redefines the world and culture, and everything” related to art, nature and commerce.

Works

Andrew Birk

Andrew Birk’s practice loops broadly from the traditional two-dimensional surface to writing, sound, fashion, photography, and digital media, and then back to painting; harnessing the noise by which today’s dissolving parameters sing. Often involving a sensory experience, Birk’s work articulates complex scenarios and stimuli through the course of vigorous research. 

Works

Svetlana Bogatcheva

Svetlana Bogatcheva (1986) is a contemporary artist based in Vaasa, Finland. Her works have been shown at the Royal Academy of Arts Summer Exhibition in London (2015), exhibited in the U.K. and Finland, and reside in collections in Scandinavia, UK, Brazil, Kuwait, Canada and the USA. She employs sustainable natural, post-industrial and post-consumer materials like textile, rubber, plastic, stone, bitumen, earth and ash. Her conceptually based practise merges the worlds of sculpture and painting, working in a dynamic manner that is defined by her impeccable skills in forming materials into works that invite deep contemplation and presence.

The Rebirth series is one of Svetlana’s most iconic works, boldly engaging the spectator’s attention in interpreting the rich formations in texture and colour. The form is dictated by the process and expresses the journey taken by the post-consumer materials. Fused with the artist’s desire to create works that capture light from multi-faceted perspectives, the intricate sculptural forms exude the energy, possibility, and positivity of the start of new life. The Rebirth sculptures are beacons of creativity and innovation that continually inspire and generate new forms in an ongoing, dynamic interplay as the spectator moves around them.

Equally engaging, Svetlana’s mesmerizing canvas works create conceptual landscapes where colour, form and tactility co-exist in inspired harmony. The poetic structures and shapes are enigmatically welcoming, inviting the audience to interpret the works in their own time and pace. This democratic quality defines Svetlana’s practise as a whole: a practise that places her audience in the driver’s seat, allowing each viewer to determine the narrative and how the work is to be viewed and, ultimately, perceived. Her works invite themselves into our lives in a gentle yet impactful way, creating both space and meaning as they convey a sense of breathing that is almost audible, via her deft and delicate use of materials. The overall composition of each canvas orchestrates a delightful interplay between form and structure in equal parts, where colour becomes a protagonist in the eye of the beholder.

Works

Pipilotti Rist

Pipilotti Elisabeth Rist is a Swiss visual artist best known for creating experimental video art and installation art. Her work is often described as surreal, intimate, abstract art, having a preoccupation with the female body. Her artwork is often categorized as feminist art.

Works

David Kim Whittaker

Celebrated British artist David Kim Whittaker is self-taught, born in Cornwall in 1964 and still through fidelity to his own environment living and working in the area. Whittaker’s work achieved breakthrough status with his interpretation of the human head and its metaphysical mental core. These works often juggle states of inner and outer calm and conflict – offering a glimpse of strength and fragility, the conscious and the subconscious, the masculine and the feminine. Into this realm Whittaker has increasingly brought historical questions of identity, abstraction and juxtaposition. Whittaker has achieved international critical recognition and has exhibited nationally and internationally, a reception that has also been mirrored commercially. Self Portrait Four, a 2011 Oil, acrylic on canvas sold for £81,250 at Phillips in March 2018. Furthermore, “Boys Ascends”, 2013 a work in mixed media sold for £46,761 in December 2018 at Christie’s in Paris.

In an essay for an exhibition at Fondazione Mudima, the curator and writer Joseph Clarke observes that the differing techniques of Whittaker’s practice ‘denote conflict but also manifest a place where fusion and harmony exist.’ Inside this vortex, Whittaker creates a strange harmony, a world forged from his own imagination and memory but recognisable instantly to the viewer, too; unsettling, but comprehensible. The series exhibited here comes from the beginning of this important period in the artist’s development. Executed in 2007-08, these paintings are original works in series of 20 unique variants. Here we see Whittaker’s fine sense of abstract composition with each work of oil and graphite on paper laid on card, evoking powerful and different emotional and receptive states.

Works

Alex Katz

Alex Katz (born July 24, 1927), is an American figurative artist known for his paintings, sculptures, and prints.

Katz’s paintings are divided almost equally into the genres of portraiture and landscape. Since the 1960s he has painted views of New York (especially his immediate surroundings in Soho), the landscapes of Maine, where he spends several months every year, as well as portraits of family members, artists, writers and New York society protagonists. His paintings are defined by their flatness of colour and form, their economy of line, and their cool but seductive emotional detachment. A key source of inspiration is the woodcuts produced by Japanese artist Kitagawa Utamaro.

In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large-scale paintings, often with dramatically cropped faces. Ada Katz, whom he married in 1958, has been the subject of over 250 portraits throughout his career. To make one of his large works, Katz paints a small oil sketch of a subject on a masonite board; the sitting might take an hour and a half. He then makes a small, detailed drawing in pencil or charcoal, with the subject returning, perhaps, for the artist to make corrections. Katz next blows up the drawing into a “cartoon,” sometimes using an overhead projector, and transfers it to an enormous canvas via “pouncing”—a technique used by Renaissance artists, involving powdered pigment pushed through tiny perforations pricked into the cartoon to recreate the composition on the surface to be painted. Katz pre-mixes all his colors and gets his brushes ready. Then he dives in and paints the canvas—12 feet wide by 7 feet high or even larger—in a session of six or seven hours.

Beginning in the late 1950s, Katz developed a technique of painting on cut panels, first of wood, then aluminum, calling them “cutouts”. These works would occupy space like sculptures, but their physicality is compressed into planes, as with paintings. In later works, the cutouts are attached to wide, U-shaped aluminum stands, with a flickering, cinematic presence enhanced by warm spotlights. Most are close-ups, showing either front-and-back views of the same figure’s head or figures who regard each other from opposite edges of the stand.

After 1964, Katz increasingly portrayed groups of figures. He would continue painting these complex groups into the 1970s, portraying the social world of painters, poets, critics, and other colleagues that surrounded him. He began designing sets and costumes for choreographer Paul Taylor in the early 1960s, and he has painted many images of dancers throughout the years. One Flight Up (1968) consists of more than 30 portraits of some of the leading lights of New York’s intelligentsia during the late 1960s, such as the poet John Ashbery, the art critic Irving Sandler and the curator Henry Geldzahler, who championed Andy Warhol. Each portrait is painted using oils on both sides of a sliver of aluminium that has then been cut into the shape of the subject’s head and shoulders. The silhouettes are arranged predominantly in four long rows on a plain metal table.

After his Whitney exhibition in 1974, Katz focused on landscapes stating “I wanted to make an environmental landscape, where you were IN it.” In the late 1980s, Katz took on a new subject in his work: fashion models in designer clothing, including Kate Moss and Christy Turlington. “I’ve always been interested in fashion because it’s ephemeral,” he said.

Works

Katherine Bernhardt

Katherine Bernhardt first garnered the art world’s attention with her portraits of fashion models, exploring hyperreal fashion photography and mainstream notions of beauty. More recently, she has focused her energies on a series of “Pattern Paintings”—large-scale works in tropical, sherbert hues depicting banal consumer goods, arranged in the style of jazz patterns. Fluid and hurried, Bernhardt’s canvases are seemingly provisional, radiating energy so as to express the pleasure of art-making. First exploring patterns in the context of imported rugs, Bernhardt’s more recent works stem from an interest in Dutch wax printing and the all-over patterning of African textiles. Her subjects are selected and grouped according to underlying emotional associations—whether hamburgers, french fries, and basketballs; or coffee, cigarettes, and pizza—and broken down into elemental details, pure forms, and swaths of color to build simpler, yet expressive, arrangements.

Works

Matt Mullican

Using his subconscious as material, Matt Mullican often creates his artworks before an audience while under hypnosis, resulting in a unique hybrid of performance art and drawing. Part schematic, part cosmological chart, Mullican’s ordered, symmetrical works belie an enormously ambitious artistic aim, to contain and make sense of the universe. Characterized by rough geometric patterns and the artist’s elongated, looping script, Mullican’s spontaneous diagrams and writings on walls and canvas offer free access to the artist’s psyche.

Works