Paul Chidlaw (1900  1989) was a colorist who painted in oil, watercolor, acrylic, etchings, pastel, charcoal, pencil.  His artwork is displayed in the Cincinnati Art Museum and Xavier University. He was certainly one of the earliest abstract expressionists in the Cincinnati area.  Chidlaw was an instructor at Our Lady of Cincinnati College (now part of Xavier University). He also taught at the Art Academy of Cincinnati from 1946 to 1963.Of his work, Chidlaw said “I’m not a person who represents. I present. Landscapes are outside. Paintings are inside. Therefore they are more from the mind and not a copy of something. That way I can get a good copy of nature as I feel it and understand it”Paul Chidlaw was afflicted with macular degeneration in his last years, yet would do black and white drawings every day only being able to see with peripheral vision. He was driven to create something new every day.  Paul Chidlaw died in 1989.

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«Roman Owidzki was a painter, teacher, and professor at the Academy of Fine Arts in Warsaw. He was one of the most important Polish artists, who consistently developed new forms of expression in abstract art. He was born in 1912 in Ostrowy, and died in 2009 in Warsaw.His time at the academy was extremely important for Owidzki’s whole career. There he picked up the basics of applied art and artistic craftsmanship, which resulted in his art being based on his broad knowledge of materials and techniques. However, in his art and subsequent educational career he strayed away from applied art, concentrating instead on artistic language and expression. His early work was put to an abrupt end by WWII and his internment in Murnau. There, apart from a few paintings, he created many works on paper, which, as he claims, were influential for his further work...The mature period of his creative work, spanning from the early 1950s to the end of 1960s, marks even further departure from figurative art and gradual simplification of forms and colours. At the turn of 1950s Owidzki created a series of vibrant abstract pieces showing totemic figures and shapes, which were probably inspired by cubism, expressionism and surrealism. At the time he also painted some works that relied on pure geometrical abstraction, composed of big planes of colours divided vertically and horizontally. In all these compositions, the most important thing seems to be the interplay of elements and harmony of form, which was the product of the painter’s lifelong studies and interest in form.The later period of his works, that is, the late 1960s and 1970s, mark his emerging interest in structuralism. He began creating his paintings with use of materials such as paper, copper, and slabs covered with canvas, which were completely monochromatic and resemble sculptures rather that paintings. His reliefs are the pinnacle of his artistic search for expression, which is at the same time reduced to an absolute minimum. Their excellence is in their inner tension and direction,  and texture and geometricity, undistorted by colour.»

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Burhan Dogancay (11 September 1929 – 16 January 2013) was a Turkish-American artist. Dogancay is best known for tracking walls in various cities across the world for half a century, integrating them in his artistic work.
With posters and objects gathered from walls forming the main ingredient for his work, it is only logical that Dogancay's preferred medium has been predominantly 'collage' and to some extent 'fumage'. Dogancay re-creates the look of urban billboards, graffiti-covered wall surfaces, as well as broken or neglected entrances such as windows and doors in different series. The only masters with whom he compares himself are those from the last heroic period of art that he experienced and in which he was an active participant, notably Robert Rauschenberg and Jasper Johns. Dogancay, however, has always preferred to reproduce fragments of wall surface in their mutual relations just as he found them, and with minimal adjustment of color or position, rather than up-end them or combine them casually in the Rauschenberg manner.In large measure his practice has been one of simulation in the spirit of record-keeping, carried out with the collector's rather than the scavenger's eye. In many cases, his paintings evoke the decay and destruction of the city, the alienated feeling that urban life is in ruins and out of control, and that we cannot put the pieces together again. Pictorial fragments are often detached from their original context and rearranged in new, sometimes inscrutable combinations. So the diversifications of his complex and uniformly experimental painterly oeuvre will always range from photographic realism to abstraction, from pop art to material image/montage/collage. In the 1970s and 1980s he gained fame with his interpretation of urban walls in his signature ribbons series, which in contrast to his collaged billboard works such as the Cones Series, Doors Series or Alexander's Walls consist of clean paper strips and their calligraphically-shaped shadows. These brightly intense curvilinear forms seem to burst forth from flat, solid-colored backgrounds. The graceful ribbonlike shapes take on a three-dimensional quality, especially as suggested by the implied shadows.  This series later gave rise to alucobond–aluminum composite shadow sculptures and Aubusson Tapestries

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Walasse Ting (1929 — 2010)Born in Wuxi, China in 1929, but raised in Shanghai, Walesse Ting is a self-taught painter, sculptor, graphic artist, and poet who began his life as an artist at a very young age, painting on sidewalks
In 1957, he moved to the United States, and settled in New York where his work was influenced by pop art and abstract expressionism. He began primarily as an abstract artist, but the bulk of his work since the mid- 1970s has been described as popular figuratism, with broad areas of color painted with a Chinese brush and acrylic paint.
He lived in Amsterdam in the 1990s, but regularly moved between there and New York.

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Dennis Byng (6 November 1927 – 21 August 2008) was professor of art, State University of New York at Albany (1968–92), and a practicing artist who specialised in the use of coloured plastic in sculpture.Byng's artistic career started in painting where he experimented with transparent glazes to create colored light effects on semi-abstract figures but he was best known for his later use of plastic in sculpture. He first used the material when he cut a female figure in laminated plexiglas in 1966 and used it in a painting. By 1968 he was creating freestanding non-representational sculpture in an attempt to eliminate complex form and maximize the effect of colored light in his chosen materials.He developed techniques of coloring the outside of plastic blocks and of laminating plastics of different color, creating square and rectangular forms with a highly polished and seamless finish that belied the high degree of technical skill and processing required to make them. In 1972, he began to use lucite as his medium instead of plexiglas as lucite offered him greater flexibility in creating color effects.Untitled  was one of sixteen cubes of identical size that Byng cast in different colors and exhibited at the Martha Jackson Gallery in 1974. It was created using successive casts in a mold that was tipped between casts to create a hollow centre that was then filled in white and sealed. The whole was then heated to remove air bubbles, and polished and annealed to complete the work. It is displayed on a transparent stand to allow light to enter and refract from all sides.By 1980, Byng had stopped making sculpture and was moving back to painting, partly due to the toxicity of plastics.

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«John Saccaro (1913 — 1981).John Saccaro was born in San Francisco, and served as a camoufleur in France in the Army during WWII.
He began his artistic career working for the Federal Arts Project in the Murals Section at Treasure Island in the 1930s. In 1939, at the age of 25, he was given a solo show at the San Francisco Museum of Modern Art, and in 1954, he graduated from the California School of Fine Arts (now the San Francisco Art Institute). Saccaro later went on to teach at UCLA from 1963 to 1964.Around 1955, Saccaro began to paint in the manner for which he is best known, using a slashing, angular brushwork that bears resemblance to the gestural canvases of Kline. He called these paintings „sensory raids,“ defining sensorism as „the scrape, slash, and violence of the sensory.“Saccaro's bright palette contrasted to the earth tones and monochromes more common among San Francisco artists at the time. He was a major contributor to the San Francisco School of Abstract Expressionism, and his works appear in the book of the same name by Susan Landauer (published by UC Press in 1996). Saccaro's work has been featured in several West Coast exhibitions, including shows at the San Francisco Museum of Art, de Young Museum, and Oakland Museum.»

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Franz West (16 February 1947 – 25 July 2012) was an Austrian artist.
West began making drawings around 1970 before moving on to painted collages incorporating magazine images that showed the influence of Pop Art.His art practice started as a reaction to the Viennese Actionism movement has been exhibited in museums and galleries for more than three decades.Over the last 20 years he had a regular presence in big expositions like Documenta and the Venice Biennale.
West's artwork is typically made out of plaster, papier-mâché, wire, polyester, aluminium and other, ordinary materials. He started to produce paintings, but then turned to collages, sculptures, portable sculptures called «Adaptives» or «Fitting Pieces», environments and furniture – «welded metal chairs and divans, some minimally padded and upholstered in raw linen.»For his early sculptures, West often covered ordinary objects—bottles, machine parts, pieces of furniture and other, unidentifiable things—with gauze and plaster, producing «lumpy, grungy, dirty-white objects».In the late 1990s, West turned to large-scale lacquered aluminum pieces, the first (and several after) inspired by the forms of Viennese sausages, as well as the shapes of the Adaptives. With their monochrome colors and irregular patchwork surfaces, these works were also meant for sitting and lying.The Baltimore Museum of Art with help from former Senior Curator of Contemporary Art, Darsie Alexander, hosted the very first «comprehensive survey» to ever been done in the U.S. of Franz West's artwork which contained his latest artwork designed specifically for the Baltimore Museum of Art, The Igo and the Id. – which «consists of two configurations of rumpled, ribbon-like loops rising some 20 feet high. One is bright pink, the other neatly painted in blocks of green, yellow, blue and orange. Both have round stools projecting from the lower ends of the loops.Around 1980 West started to create „plaster objects, usually a few feet long, meant to be placed over the face, worn around the waist or held in the crook of the neck. Although they suggest masks and props for the commedia dell'arte, their shapes are usually ambiguous: no matter how figurative and sexual Mr. West's objects may be, they remain abstract. The pieces can be worn on the street or carried like a partner in an enraptured solipsistic dance. They leave the wearer looking both protected and trapped.“ His friend Reinhard Priessnitz called these „Passstücke“, which was rendered into English as „Fitting pieces“; but West came to prefer another translation, „

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Bela Kondor (February 17, Budapest, 1931 – December 12, 1972) was a Hungarian painter, prose writer, poet, photographer, and  avant-garde graphic
«A founding master of a style and a school of art in the world of Hungarian modern art, he began his training on the fine arts faculty of the Hungarian Academy of Fine Arts in 1950, and graduated from the graphics department in 1956. Even his diploma work (the Dózsa series) elicited a huge response: not only his artist fellows, but critics also took note of him, Lajos Németh among them, later to write the first article and the first monograph on his friend. He worked on the artist colonies of Kecskemét and Miskolc, took study trips to France, the Soviet Union and travelled exhaustively in the region of Eastern Europe. His drawings were regularly published by journals from 1958 onwards, and he prepared the illustrations for round about 20 volumes of literature. After 1959 he entered a number of fresco, panorama and glass-window competitions. His oeuvre of paintings represent the same professional expertise, lively formal ability, narrative stance and individual systems of motives and symbols that is found in his graphic work. He also made a series of photographs in 1970. He played the organ with excellence and wrote poems, his poetry first published in 1971 form a self-contained segment of his life work.»

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«Mogens Balle (1921-1988) is an artist from Copenhagen. Mogens Balle began with a training in architecture and finished his studies in painting, in a private institution. His time in the French capital influenced his orientation towards Picasso's cubism and inaugurated a style in the artistic vein. In 1947, during the Spirale fair, he met Asger Jorn who invited him to join the Cobra group. His various inspirations include Ejler Bille, Egill Jacobsen, Carl-Henning Pedersen and Asger Jorn. Mogens Balle claims a breach from surrealistic-figurative painting and Danish surrealism, the aim of the Cobra movement. The entire inner notion is toned down. He shapes the abstract-surrealistic movement, celebrating material spontaneity, merging surrealistic automatism with abstract. Asger Jorn named their entity as „Danish experiment“. Mogens Balle illustrated texts of Noiret, Harder and collaborated with Dotremont on word paintings. He signed twelve issues of the Helhesten magazine, ancestor of the Cobra magazine (mixing popular art, ethnology, cinema, photography and painting).»

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