Richard Hambleton - Street Art.

«Richard Hambleton has been called the godfather of street art. He began producing what he called ‘public art’ in New York City in the 1970s.He’s known for the black figures he first painted on the buildings of New York’s Lower East Side, which he called Shadowmen. The Shadowmen arrived in the early 1980s, and shocked many a denizen of that city who walked the streets at night. In 1981 and 1982 he populated the Lower East Side with these unnerving figures.A reclusive man, physically gaunt (somewhat creepy-looking himself), Hambleton had undertaken work of a similar bent before. In his Mass Murder project in the late 1970s, he drew crime-scene outlines of dead bodies on the street and had volunteers play homicide victims. Passersby mistook the installations for the aftermaths of real murders.Both these projects spoke to the zeitgeist, as US urban crime panics shook the nation in those decades. The Shadow men would shock passersby, who often mistook them for shadows of real people, possible assailants. Many people who lived in NYC around that time have stories of the moment they were petrified by a Shadowman and these stories seem to be almost a badge of honour top the artist with a distinctly morbid streak. For Hambleton audience reaction was integral to the artwork itself.He said:“Other artists put their work on the city, but what I paint on the walls is only part of the picture. The city psychologically completes the rest. People experience my paintings. They aren’t simply exposed to them.”His art was apparently inspired by the shadows left on the sides of buildings by victims of the atomic blast on Hiroshima. In an age of Cold War anxiety, perhaps his work pointed at the way people’s lives seemed to rest on a knife edge.The Shadowmen drew in other urban artists, who daubed over the black figures with their own work. Indeed, Hambleton was not a lone wolf. With Keith Haring and Jean-Michel Basquiat, he was one of a legendary trio of New York artists at the forefront of the street art boom. The three regularly met to discuss their work with one another, and sometimes collaborated.His work began to pop up all over the globe. Shadowmen even appeared on the Berlin Wall in 1984, when he painted 17 life-size figures on its eastern side. His Shadowman paintings have been documented by photographer Hank O’Neal.»

 

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British abstract art - Gillian Ayres

Gillian Ayres (3 February 1930 – 11 April 2018) was an English painter. She is best known for abstract painting and printmaking using vibrant colours, which earned her a Turner Prize nomination.Gillian Ayres was born to Florence and Stephen Ayres on 3 February 1930 in Barnes, London, the youngest of three sisters. She started school when she was six. Her parents, a prosperous couple who owned a hatmaking factory, sent her to Ibstock, a progressive school in Roehampton run on Fröbel principles.In 1941, Ayres was sent to Colet Court, the junior school for St Paul's, Hammersmith.She passed the entrance exam for St Paul's Girls' School the following year, and developed an interest in art while there. Among her schoolfriends was Shirley Williams, with whom she taught art to children in bomb-damaged parts of London.Ayres then decided to go to art school. In 1946, she applied to the Slade School of Fine Art and was accepted. However, at sixteen, she was too young to enroll. She was advised to apply to the Camberwell School of Art and studied there from 1946 to 1950.Gillian Ayres worked part-time at the AIA Gallery in Soho from 1951-59 before starting a teaching career.She held a number of teaching posts through the 1960s and 1970s, becoming friends with painters such as Howard Hodgkin, Robyn Denny and Roger Hilton. In 1959, she was asked to teach at Bath Academy of Art, Corsham, for six weeks. She remained on the teaching staff until 1965.For much of her time at Corsham she shared a teaching studio with Malcolm Hughes. She was a senior lecturer at Saint Martin's School of Art, London, from 1965 to 1978 and became head of painting at Winchester School of Art in 1978, the first female teacher in the UK to hold such a position. She left teaching in 1981, and moved to an old rectory on the Llyn Peninsula in north-west Wales to become a full-time painter.Gillian Ayres' early works are typically made with thin vinyl paint in a limited number of colours arranged in relatively simple forms, but later works in oil paint are more exuberant and very colourful, with a thick impasto being used.
One of Ayres' early projects was a 1957 commission by architect Michael Greenwood to decorate the South Hampstead high school dining hall in north London. The murals, described as «the only true British contribution to American abstract expressionism», were quickly covered over with wallpaper before being rediscovered in 1983 in nearly perfect condition

 

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Color Field - Kikuo Saito

«The composition of much of Saito's painted work was significantly influenced by and in dialogue with the geography of his theatre productions. A dualistic nature to Saito himself took material form in the interplay between the collaborative theatre and the personal, private realm of the painting studio. Art critic Karen Wilkin writes, if we are attentive, we discover that characters from his stage pieces have been reincarnated as abstract configurations within his paintings, reborn as the records of animated gestures that retain the individuality of their sources.»
A commonality in the entire body of Saito's work, both on stage or on canvas, focuses on written signs. Repeated investigations of alphabet in Saito's work, both real and made-up, legible and obscured, speak to moments in his personal history.[4] As a young immigrant in a country whose language he did not speak, Saito wrote space for himself in the already-established Color Field tradition by constructing his own painterly lexicon. Opposing motifs of free gestural brushtrokes and elegant, ordered lettering allude again to his double practice as painter and architect of poetic performance. Abstraction in Saito's work points to a meditation on the instabilities and impermanence of language and the mutability of meaning. Departing from structuralist[disambiguation needed] systems of transmuting signs, a space opens that Saito fills with vibrant color.

 

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Lee Ufan - Korean minimalist painter and sculptor

«Painter, sculptor, writer and philosopher Lee Ufan came to prominence in the late 1960s as one of the major theoretical and practical proponents of the avant-garde Mono-ha (Object School) group. The Mono-ha school of thought was Japan’s first contemporary art movement to gain international recognition. It rejected Western notions of representation, focusing on the relationships of materials and perceptions rather than on expression or intervention.The artists of Mono-ha present works made of raw physical materials that have barely been manipulated. In 1991 Lee Ufan began his series of Correspondance paintings, which consist of just one or two grey-blue brushstrokes, made of a mixture of oil and crushed stone pigment, applied onto a large white surface. His sculptural series Relatum is equally minimal: each work is comprised of one or more light-colored round stones and dark, rectangular iron plates. The dialectical relationship between brushstroke and canvas is mimicked in the relationship between stone and iron plate. In Ufan’s installations space is at the same time untouched and engaged, at the confines between doing and non-doing. The relationship between painted / unpainted and occupied / empty space lies at the heart of Lee Ufan’s practice. „

 

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Ralph Brown - Figurative Sculpture

Ralph Brown (1928 – 2013) was an English sculptor who came to national prominence in the late 1950s with his large-scale bronze Meat Porters, commissioned for Harlow New Town, Essex and is known for his sensual, figurative sculptures.Like Henry Moore who befriended him and encouraged him by buying his work, Brown's art is deeply rooted in the figurative tradition. However, whilst his predecessors focused their energies on carving and maintaining 'truth to materials', Brown concentrated on modelling allowing him to interact with his material on a more intimate level. In the introductory catalogue essay for Brown's major retrospective show at Leeds City Art Gallery in 1988 Dennis Farr commented: «So much of Brown's sculpture is his search for equivalents, in formal terms, for sensual experiences.Brown came to national prominence in the late 1950s with his large-scale bronze group Meat Porters, commissioned for Harlow New Town, Essex. The piece is a tribute to physical labour with two figures hauling an ox carcass, a subject fitting to the busy market square and a form that brings dynamism to the otherwise rigid architecture. The concrete version of the piece won second prize for sculpture at the John Moore's Exhibition, Liverpool in 1959

 

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Władysław Hasior - Polish contemporary sculptors

«Władysław Hasior was one of the most prolific contemporary Polish artists. He was an extraordinary personality, and a very colourful and magnetic individual. In the West, he was hailed as „the most talented student of Rauschenberg and Warhol“. In Poland, his work is considered as a precursor to pop art and assemblage, despite the artist's obstinate insistence that he had „never suffered from modernity“. Hasior regarded artistic activity as an intellectual and creative provocation, and he perceived modernity as rooted in a culture whose language was universal.
He entered the art world in a manner that immediately drew the attention of the general public, and soon after became a „cult“ artist for the 60s and 70s generations. His work shocked and delighted, aroused extreme emotions and judgement, and his controversial attitude compelled audiences to ask questions about the nature of art, and the artistic license of choosing the language of expression. As one of the few such artists of the time, he gained a level of popularity typically enjoyed by celebrities of film and stage.He was a sculptor, although many of his works are difficult to be categorized precisely in terms just sculpture. He became famous as a total artist, working on the borders between many artistic genres: painting, sculpture, architecture, arts and crafts. In 1958, he abandoned classical sculpture in favour of „something“ which his contemporaries could not yet fully define. In his art practice, he employed a collage technique to create assemblages, namely, semantically rich three-dimensional compositions incorporating various found objects and finished works.Hasior used degraded elements of technological civilization as art materials. He built structures out of everyday objects or fragments thereof, thus restoring their significance. In this fashion, he engaged in a continuous dialogue with Polish reality and mythology, a dialogue leavened with poetry, but also with mockery and irony. The relevance of Hasior’s artistic attitude lies in his authenticity, and in his acute powers of observation which encompassed sociology and culture, combining tradition and modernity, high and low culture.»

 

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Lyman Kipp - Abstract Sculpture

«Lyman Kipp's sculptures, despite the presence of primary colors on rather thin, clean rectangular forms, remind one of ancient megaliths in their primitive organization. Several look like brightly colored, somewhat attenuated versions of Mycenaean arches, with simple lintels supported by unadorned piers — except that Kipp's pieces lack mass, let alone any sense of monumentality, and refer most cogently to painting. Hard Edge conceptions when extended to painted sculpture lose a great deal of transmission, especially of the sculpture does not project any sense of weight, as it certainly doesn't here. One of the central features of Hard Edge painting is its insistence on an effective distinction between interior and exterior space — the edge of the canvas contra the edge of the shape. However simple the elements may be, success requires a precise distribution of weight throughout a surface in order to prevent either extension beyond a pictures borders or incursion into the pictorial area. Lacking exact definition, a painting risks having its forms leave the surface and act as independent objects located in an indeterminate space. Kipp's work can be faulted chiefly on these grounds. His sculptures are simple objects that do not articulate the space they occupy, and his drawings look much like architectural renderings of isolated such as a doorway or window frame. ( Sidney Zimmerman, Arts Magazine, 1966 )

 

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Eduardo Úrculo - Spanish Pop Art

Eduardo Úrculo (21 September 1938 – 31 March 2003), was a Spanish pop artist who also worked in other art movements, including Expressionism and Neo-Cubism. Both painter and sculptor, he is notable for his portrayals of luggage, the gentleman's hat, and the female bottom. With El Equipo Crónica (“Chronicle Team”), formed by the artists Manolo Valdés and Rafael Solbes, Úrculo is considered one of the drivers of pop art in Spain.
Born in Santurtzi, in Spain's Basque Country, Úrculo had at least two siblings, brothers Jose Maria Úrculo and Maria del Mar Úrculo. The family moved to the mining village of Langreo, Asturias in 1941 because of the hardships imposed on them after the Spanish Civil War. With a childhood marked by famine, he joined the Instituto de Enseñanza Media in 1948. His interest in drawing began here after Úrculo discovered the art of Henri de Toulouse-Lautrec, Vincent van Gogh. and Amedeo Modigliani in picture books.Úrculo's first solo exhibition occurred in 1957 in La Felguera. In the same year, he became a cartoonist, drawing gangster comics illustrations in Oviedo. The following year, he received a grant from the Langreo City Council to study at Madrid's Círculo de Bellas Artes and at the Escuela Nacional de Artes Gráficas. Here, his spiky socialist realism was characterized by «lots of clenched fists and Guernica-style Picassoism». His drawings of factories have been described as «social painting» or «social expressionism». Úrculo's early black and white drawings were influenced by Francisco Goya. In 1958, he went to Paris and studied at the Académie de la Grande Chaumiere

 

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Action Painting Franz Kline

Franz Kline (May 23, 1910 – May 13, 1962) was an American painter. He is associated with the Abstract Expressionist movement of the 1940s and 1950s. Kline, along with other action painters like Jackson Pollock, Willem de Kooning, Robert Motherwell and Lee Krasner, as well as local poets, dancers, and musicians came to be known as the informal group, the New York School. Although he explored the same innovations to painting as the other artists in this group, Kline's work is distinct in itself and has been revered since the 1950s

 

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Pop Art - Kiki Kogelnik

Kiki Kogelnik (1935–1997) was an Austrian painter, sculptor and printmaker. Born in southern Austria, she studied at the Vienna Academy of Fine Arts and moved to New York City in 1961. Kogelnik is considered Austria’s most important pop-related artist, despite having been known to take issue with being considered part of the pop art movement.Kogelnik began her career at the Galerie Nächst St. Stephan in Vienna in 1961, showing abstract works. At the time she was influenced by Serge Poliakoff of the École de Paris, but later found her own unique genre while surrounded by the pop art movement in New York. At one point she was engaged to Austrian abstract expressionist artist Arnulf Rainer.Kogelnik was close to another abstract expressionist, the American artist Sam Francis, and spent time with him in 1961 in New York and Santa Monica, California. Kogelnik then moved to New York in 1962 where she joined a close-knit group of artists that included Roy Lichtenstein, Claes Oldenburg, Andy Warhol, Larry Rivers, Tom Wesselmann, Joan Mitchell, Robert Rauschenberg and Jasper Johns, among others. Pop was a way of life, and with Kogelnik extravagant hats and outfits Kogelnik became a captivating happening wherever she went.Her work during that time was strongly influenced by the pop art colors and materials of the time, producing numerous brightly colored euphoric space-themed paintings.Unlike pop artists, she avoided the celebration of commerce or quotidian objects, although she was known to foreground plastics and the artificial over nature.During the early 1960s Kogelnik began to use life-size cutout paper stencils of her friends to produce her paintings. In 1965 these prototype cut-outs became vinyl hangings, presented on the same clothing racks that she saw pushed down the streets in the vicinity of her studio in New York’s garment district.In the 1970s Kogelnik’s focus shifted to what later became known as her Women works, specifically addressing the female role portrayed in commercial advertising. Broaching feminist issues indirectly with irony, humor and a cool pop aesthetic was unique to Kogelnik’s work during this time. In 1974 she also began to work occasionally with ceramics, employing sculptural form as an extension of painting.

 

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Paintings For Order


Dear friends. I am professional artist with many years of experience. I would like to offer you unique opportunity of having a painting, made according to your individual wishes. Oils, watercolours, graphics, portraits or decorative motives, small or large- your involvement in creating of art will make your interiors very special. To ensure highest standard and unique nature of my art  I use only traditional techniques and methods..Milena Olesinska

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