Steiner was part of a group of artists called Bennington School because of his association with Bennington College. Many students from Bennington became imitators of the sculpture artist,Anthony Caro. Caro was influenced by the art critic Clement Greenberg and worked in a narrow aesthetic and formal style. Steiner?s work echoes elegance and reflects the formal qualities of his predecessor, Anthony Caro. The Vulcan is an example of the artist putting abstract theory into effect without regard to practical difficulties. One can see the impracticalities of this work and appreciate the skill and thought that went into making it. Instead of using scrap metal like many sculpture artists, Steiner makes his own pieces. He merges these hand-crafted pieces till they look like something. In his more recent works Steiner exhibits his use of hand-crafted objects by integrating them till they become a unified whole.
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Untitled
In 1972 Fischl received his B.F.A. from the California Institute of the Arts. He?s known for his narrative paintings of haunting figures that immediately capture the viewer?s curiosity with their sexual overtones. The figures are usually nude or in a state of undress. Most of them appear to be struggling for their identities. The Impressionists painted outdoor leisure scenes of middle class people enjoying their time off from their jobs. Fischl, a Neo-Expressionist, paints outdoor leisure scenes of modern American culture using the suburban middle class as his backdrop. Unlike the Impressionists? subjects, the figures in Fischl?s narratives seem detached. There is often an erotic tone to the narrative, but it is usually not completely clear what is going on in the scene. This uncertainty makes the audience attempt to read the moment captured in the scene by drawing from their own experiences or memories in life. In this untitled work Fischl paints a scene of a male on a beach with a frisbee or beach ball. He seems captivated by a nude couple in the shadows. The couple seem oblivious to their male onlooker. The flabby male watches the couple in the shadows. The voyeuristic theme of this work makes viewers uncomfortable as they watch the psychodrama unfold. Fischl states that he starts off despising the people in his works and then he works toward compassion for them.
Untitled #5
Jon
3 Black Lemons, April 16th, 1987
Since 1977 Sultan has had an extensive number of solo exhibitions in cities around the world including Paris, Tokyo, Rome, London, Switzerland, San Francisco, Chicago and New York. He was the recipient of the Creative Artists Public Service Grant in New York in 1978-79 and the National Endowment for the Arts in 1980-81. His works are in the public collections of such prominent museums as The Art Institute of Chicago, The Metropolitan Museum of Art, the Smithsonian Institution in Washington, D.C., and the Solomon R. Guggenheim Museum in New York. Sultan executes the traditional still-life in such an extraordinary manner that the viewer is forced to challenge his preconceived notions about it. The large velvety forms of the three lemons in this aquatint demonstrate how he can take representational subject matter and turn it into something abstract. By cropping the enormous lemons in this composition, Sultan draws the viewer into the imagery. Sultan says he was inspired to use lemons after he had seen a retrospective of Manet?s at the Metropolitan Museum of Art. In this exhibition there was a small still-life of the same subject matter. Sultan has taken the traditional still-life to new heights and moved it into the next century.
Fragile Fawn
Jose Luis Ferrer
After graduating from the University of Houston in 1973, Schnabel spent two years in an independent study program at the Whitney Museum of American Art in New York. In 1979 the Mary Boone Gallery in New York amazingly sold out his first show before its opening. His sudden popularity reached unprecedented heights in the modern art scene and sparked a fierce controversy among those in the art world. Ironically, the art world itself was in part responsible for what took place since it had been searching for someone like Schnabel to ignite commerce within the art world. Unfortunately, the excessive hype surrounding him resulted in many of his significant works being overlooked after the initial furor died down. However, in recent years his work has regained its popularity. Jose Luis Ferrer demonstrates the strong emphasis that Neo-Expressionist artists put on the psychological and social aspects of their works. The male figure in the center of the composition stares at the viewer in a disturbing manner. His dress resembles the attire of a priest, so the viewer assumes he is a man of God. The long expressive mark to the right of the figure attracts the attention of the viewer, who wonders what may be taking place on the canvas. This emotionally filled work is an excellent example of the way Schnabel involves the spectator in a psychological and social relationship with his work.
from a suite of five (Circulation)
Note that this suite of 4 was purchased prior to Squa Tront, which completed the suite of 5.
from a suite of five (Untitled (Blue-Black))
Note that this suite of 4 was purchased prior to Squa Tront, which completed the suite of 5.
from a suite of five (Lighthouse)
Note that this suite of 4 was purchased prior to Squa Tront, which completed the suite of 5.