“Mikulas Medek (November 3, 1926 — August 23, 1974) was a Czech painter.He is considered one of the most important representatives of Czech modern painting and one of the most important exponents of the post-war period.Medek’s work initially relies on the tradition of surrealism, later it brings new elements of the spiritual dimension. In 1952, he entered his «existential period” with the central theme of the human character in space, and at the turn of the 1950s and 1960s he came to abstract painting. As a result, so-called “prepared paintings” of color matter, arranged in the form of surface symbols and rationally distributed color formations have come into being. He brings the theme of the basic question of the meaning of human life directly to the color of its original image-making techniques»

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François Morellet (30 April 1926 – 10 May 2016) was a French contemporary painter, sculptor, and light artist. His early work prefigured minimal art and conceptual art, and he played a prominent role in the development of geometrical abstract art.
For Morellet, a work of art referred only to itself. His titles are generally sophisticated, show some word play, and describe the «constraints» or «rules» that he used to create them. Like other contemporary artists who use constraints and chance (or the aleatory) in their works (John Cage in music, the Oulipo group in literature), Morellet used rules and constraints established in advance to guide the creation of his works, and also allowed chance to play a role in some of his compositions.

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“Energy is one of the most striking elements of Soto’s work and his experiments with optical effects are representative of some of the most successful of the Op Art-Kinetic Art movements.Soto’s work, however, surpasses the mere exploitation of optical effects and he presents in his paintings a concentration of energy which attain a point where the paintings become a mirage, kinesthetically like a mental tension.Soto’s use of the moire effect plays a prominent role in his early works of transition from the tradition of hard-edge abstraction founded by Modrian to the more fluid expression he presently uses.”

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«Heron used that most rare and uncanny of gifts: the ability to invent an imagery that was unmistakably his own, and yet which connects immediately with the natural world as we perceive it, and transforms our vision of it. Like those of his acknowledged masters, Braque, Matisse and Bonnard, his paintings are at once evocations and celebrations of the visible, discoveries of what he called „the reality of the eye“

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Franz Kline was born on May 23, 1910, in Wilkes-Barre, Pennsylvania. He studied painting and drawing at Boston University (1931–35), and drafting and illustration at the Heatherley School of Fine Art, London (1937–38). After returning to the United States, he settled in New York, where he produced traditional cityscapes and interior scenes and, in the early 1940s, won awards at several National Academy of Design Annuals.Kline soon began experimenting with small black-and-white brush drawings after Willem de Kooning introduced him to abstraction. At the end of the decade, De Kooning’s use of a Bell-Opticon projector inspired Kline to project his brush drawings onto his studio wall, transforming them into large-scale ideograms. These experiments marked the beginning of Kline’s characteristic abstractions incorporating powerful lines and rapidly developed gestures of black paint on white ground.

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Claire Falkenstein ( July 22, 1908 – October 23, 1997) was an American sculptor, painter, printmaker, jewelry designer, and teacher, most renowned for her often large-scale abstract metal and glass public sculptures. Falkenstein was one of America's most experimental and productive twentieth-century artists.
Falkenstein relentlessly explored media, techniques, and processes with uncommon daring and intellectual rigor. Though she was respected among the burgeoning post–World War II art scene in Europe and the United States, her disregard for the commodification of art coupled with her peripatetic movement from one art metropolis to another made her an elusive figure.Falkenstein first worked in the San Francisco Bay Area, then in Paris and New York, and finally in Los Angeles. She was involved with art groups as radical as the Gutai Group in Japan and art autre in Paris and secured a lasting position in the vanguard, which she held until her death in 1997.An interest in Einstein's theories of the universe inspired Falkenstein to create sculptures from wire and fused glass that explored the concept of infinite space.

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«Originally trained in engineering, Stankiewicz established his reputation in the 1950s as a master of witty junk assemblages. By 1969, however, he was using newly fabricated industrial elements such as cylinders and I-beams to fashion comparatively restrained abstractions. Australia No. 9, 1969, another work by Stankiewicz in Storm King’s collection, marks this turning point in his career. The sculpture is a result of a three-month visit to Australia, during which he had an opportunity to create work in a steel plant in Sydney. The experience provided Stankiewicz with an understanding of industrial steel manufacturing and new welding techniques, which profoundly impacted his practice. The artistic process was paramount for Stankiewicz, who once commented, “It isn’t the thing; it’s making the thing. Because in making the thing you are making yourself, and after you have made it you are a little bit changed and that’s the product, and the thing, it can go into the world.”

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Albert Szukalski (4 April 1945 in Furth im Wald – 25 January 2000 in Antwerp) was a Polish-Belgian visual artist who worked with the use of mixed media and sculpture. Szukalski was born 4 April 1945, Furth im Wald and died 25 January 2000, in Antwerp, Belgium.
Albert Szukalski, 1988 in Rhyolite, Nevada, with a photo of his sculpture „The Last Supper“Szukalski was best known as the sculptor of works that the artist termed “ghosts". Szukalski traveled to the Nevada desert in 1984 to create “The Last Supper” sculpture, considered to be the centerpiece of the Goldwell Open Air Museum near Rhyolite.

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Kurt Seligmann (1900–1962) was a Swiss-American Surrealist painter and engraver. He was known for his fantastic imagery of medieval troubadors and knights in macabre rituals and inspired by the carnival held annually in his native Basel, Switzerland. «Among those artists of the second generation of Surrealists, Kurt Seligmann has been largely neglected in recent decades by art historians, although he was highly regarded by curators and critics in the 1930s and 40s. This neglect may be explained partially by his eccentric imagery and by his somewhat academic approach, the latter in fact a reflection of his artistic and intellectual independence. He never identified exclusively with any particular ‘ism’, although he found some more plausible than others. What really concerned him was the quest for a synthesis of abstract and figurative modes within the scope of pictorial concerns.»

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