" Albert Stadler was a leading figure in the rise of color abstraction in the mid-1960s, addressing the nature of the optical experience in art… In the catalogue for Albert Stadler’s first solo exhibition held at Bennington College in 1962, he stated that he saw his canvases as invitations “for the viewer to participate in events, in the activity of color and the relativity of space.” For Stadler, “space… and the “to illuminate and elucidate all parts of a painting,” while allowing viewers the opportunity to find their own way through an image. Creating both hard-edge and more ethereal paintings, Stadler united directions in Color Field and Minimalist art, often bridging the gap between the intellectual and sensual and the conceptual and spiritual..."

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«Ralph Hotere was an important Maori painter and sculptor. Known for his minimal Black paintings, composed of simple bands or crosses of color laid over dark backgrounds. “There are very few things I can say about my work that are better than saying nothing,” the artist said. Born Hone Papita Rakura Hotere in 1931 in the Northland Region of New Zealand, he was very politically active and used his paintings as a platform for his message. A documentary, called Hotere, about his art and work, was released in 2001. The artist died on February 24, 2013 in Dunedin, New Zealand.»

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«Emilio Vedova was born on August 9, 1919, in Venice. Self-taught as an artist he attended for a short period the evening decoration classes at the Carmini school. Around 1942 he joined the group Corrente, which also included Renato Birolli, Renato Guttuso, Ennio Morlotti, and Umberto Vittorini. Vedova participated in the Resistance movement from 1943. In 1946 he collaborated with Morlotti on the manifesto Oltre Guernica in Milan and was a founding member of the Fronte Nuovo delle Arti in Venice. In this period he began his Geometrie nere series, black and white paintings influenced by Cubist spatiality.
Vedova’s first solo show in the United States was held at the Catherine Viviano Gallery in New York in 1951. In the same year he was awarded the prize for young painters at the first São Paulo Bienal. In 1952 he participated in the Gruppo degli Otto. Vedova was represented at the first Documenta exhibition in Kassel in 1955 and won a Guggenheim International Award in 1956. He executed his first lithographs in 1958.»

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Hans-Jürgen Schlieker (April 8, 1924 – March 12, 2004) was a German abstract painter, grouped in importance with Hans Hartung, Bernard Schultze and Emil Schumacher. Schlieker was born in 1924 in Schöningen (today Grędziec, Poland), East Pomerania, where he grew up and completed a formal education before deciding to study applied arts at a local studio. After a period of focused study, he served as a soldier for three years in the German army, an experience which he later expressed pictorially in flamboyant 50s colours and through artistic work groups.After the war and a temporary stay at an artist’s centre in Mecklenburg, Schlieker moved to Hamburg to study at the Kunsthochschule (arts college) under Erich Hartmann. 

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«Eva Aeppli, born on May 2, 1925 in Zofingen (Switzerland), grew up in Basel with her parents and three siblings. She attended the Steiner School in Basel, which had been co-founded by her father. During the 2nd World War she enrolled in courses at the School of Applied Arts and created her first fabric figures, glove puppets which she sold in various stores. She only commenced her actual artistic oeuvre – she considered the glove puppets her bread-and-butter work – once she was in Paris....The subsequent period saw the creation of further groups of heads in fine fabric, which were cast in bronze, Astrologische Aspekte, The Twelve Signs of the Zodiac, Some Human Weaknesses, and a number of others. These are heads whose physiognomies record deeply felt emotions. Despite her reclusiveness, exhibition makers recognized the intensity and quality of her oeuvre and organized major retrospectives..»

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Lenton Parr (11 September 1924 – 8 August 2003) was an Australian sculptor and teacher.Born in East Coburg, Victoria Lenton Parr spent eight years in the Royal Australian Air Force before enrolling to study sculpture at the Royal Melbourne Technical College (now RMIT University), then worked in England 1955–57 as an assistant to Henry Moore. There he was influenced by Reg Butler and Eduardo Paolozzi to work with enamelled steel structures, which was to become his lifelong specialty. After his return to Melbourne he showed at Peter Bray Gallery in 1957, and embarked on a career in art education which culminated in his appointment as director (1974–84) of the Victorian College of the Arts.

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«Norris Embry was born on January 14, 1921 in Louisville, Kentucky, and died on February 17, 1981 in the same city.He grew up in East Orange, New Jersey outside New York City and Evanston, Illinois in the Chicago area, attending public schools through high school. He later studied at St. John’s College in Annapolis, Maryland and the Art Institute in Chicago. In the late 1940’s, he attended the Academy of Fine Arts in Florence, Italy; his teacher, the Expressionist painter Oskar Koskoschka, was to have a lasting influence on Embry’s work.During his adolescent years in the Chicago area, Embry developed a keen interest in avant-garde literature, music and art.»

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Bernhard Luginbühl (16 February 1929 – 19 February 2011)was a Swiss sculptor.He created iron sculptures in the late 1950s. In 1976 he started with building giant wooden sculptures which he set on fire as an art event.

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«Born on the multi-cultural island of Mauritius in 1914, Avray Wilson came to Abstraction following years of scientific research into the source of human aesthetics. Having graduated from Cambridge University with a degree in biology in 1938, Avray Wilson used his scientific knowledge to further his painting. Once he discovered that colour is not matter but energy, that an image could be alive as a living cell under a microscope, and that human art-making is a reflection of Nature’s Art Making, Avray Wilson arrived at full abstract gestural painting during the early 1950s. His explosions of colour and shapes burst in strength and liveliness, and are in their dignity and abstract grandeur challenging our predisposed understanding of what art should be.»

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