Neil Williams
Latest News on Neil Williams:
Luxembourg & Dayan Presents THE SHAPED CANVAS, REVISITED, Now thru 7/3 (May 8, 2014)
THE SHAPED CANVAS, REVISITED on View Through 7/3 at Luxembourg & Dayan (Apr 16, 2014)
Luxembourg & Dayan Presents THE SHAPED CANVAS, REVISITED, 5/8-7/3 (Apr 16, 2014)
Luxembourg & Dayan Presents THE SHAPED CANVAS, REVISITED, Now thru 7/3 (May 8, 2014)
THE SHAPED CANVAS, REVISITED on View Through 7/3 at Luxembourg & Dayan (Apr 16, 2014)
Luxembourg & Dayan Presents THE SHAPED CANVAS, REVISITED, 5/8-7/3 (Apr 16, 2014)
Neil Williams News
Luxembourg & Dayan Presents THE SHAPED CANVAS, REVISITED, Now thru 7/3
In the early 1960s, the shaped canvas emerged as a new form of abstract painting that reflected the optimistic spirit of a postwar space-race era when such forms as parallelograms, diamonds, rhomboids, trapezoids, and triangles suggested speed and streamlined stylization. The shaped canvas is frequently described as a hybrid of painting and sculpture, and its appearance on the scene was an outgrowth of central issues of abstract painting; it expressed artists' desire to delve into real space by rejecting behind-the-frame illusionism. The defining moment for the paradigm occurred in 1964 with The Shaped Canvas, an exhibition at the Solomon R. Guggenheim Museum, curated by influential critic Lawrence Alloway with works by Paul Feeley, Sven Lukin, Richard Smith, Frank Stella, and Neil Williams. Alloway's show defined a key feature of abstraction and revealed the participating artists' desire to overthrow existing aesthetic hierarchies. Half a century later, the shaped canvas remains robust in art, encompassing an array of approaches and provoking questions about the continued relevance of painting.
In the early 1960s, the shaped canvas emerged as a new form of abstract painting that reflected the optimistic spirit of a postwar space-race era when such forms as parallelograms, diamonds, rhomboids, trapezoids, and triangles suggested speed and streamlined stylization. The shaped canvas is frequently described as a hybrid of painting and sculpture, and its appearance on the scene was an outgrowth of central issues of abstract painting; it expressed artists' desire to delve into real space by rejecting behind-the-frame illusionism. The defining moment for the paradigm occurred in 1964 with The Shaped Canvas, an exhibition at the Solomon R. Guggenheim Museum, curated by influential critic Lawrence Alloway with works by Paul Feeley, Sven Lukin, Richard Smith, Frank Stella, and Neil Williams. Alloway's show defined a key feature of abstraction and revealed the participating artists' desire to overthrow existing aesthetic hierarchies. Half a century later, the shaped canvas remains robust in art, encompassing an array of approaches and provoking questions about the continued relevance of painting.
THE SHAPED CANVAS, REVISITED on View Through 7/3 at Luxembourg & Dayan
Coinciding with the 50th anniversary of the Guggenheim Museum's historic show, Luxembourg & Dayan will present The Shaped Canvas, Revisted, a cross-generational exhibition examining the enduring radicality of the painted shaped canvas and introducing such parallel movements as Pop Art and Arte Povera into discussion of the paradigm's place in the history of modern art.
Coinciding with the 50th anniversary of the Guggenheim Museum's historic show, Luxembourg & Dayan will present The Shaped Canvas, Revisted, a cross-generational exhibition examining the enduring radicality of the painted shaped canvas and introducing such parallel movements as Pop Art and Arte Povera into discussion of the paradigm's place in the history of modern art.
Luxembourg & Dayan Presents THE SHAPED CANVAS, REVISITED, 5/8-7/3
In the early 1960s, the shaped canvas emerged as a new form of abstract painting that reflected the optimistic spirit of a postwar space-race era when such forms as parallelograms, diamonds, rhomboids, trapezoids, and triangles suggested speed and streamlined stylization. The shaped canvas is frequently described as a hybrid of painting and sculpture, and its appearance on the scene was an outgrowth of central issues of abstract painting; it expressed artists' desire to delve into real space by rejecting behind-the-frame illusionism. The defining moment for the paradigm occurred in 1964 with The Shaped Canvas, an exhibition at the Solomon R. Guggenheim Museum, curated by influential critic Lawrence Alloway with works by Paul Feeley, Sven Lukin, Richard Smith, Frank Stella, and Neil Williams. Alloway's show defined a key feature of abstraction and revealed the participating artists' desire to overthrow existing aesthetic hierarchies. Half a century later, the shaped canvas remains robust in art, encompassing an array of approaches and provoking questions about the continued relevance of painting.
In the early 1960s, the shaped canvas emerged as a new form of abstract painting that reflected the optimistic spirit of a postwar space-race era when such forms as parallelograms, diamonds, rhomboids, trapezoids, and triangles suggested speed and streamlined stylization. The shaped canvas is frequently described as a hybrid of painting and sculpture, and its appearance on the scene was an outgrowth of central issues of abstract painting; it expressed artists' desire to delve into real space by rejecting behind-the-frame illusionism. The defining moment for the paradigm occurred in 1964 with The Shaped Canvas, an exhibition at the Solomon R. Guggenheim Museum, curated by influential critic Lawrence Alloway with works by Paul Feeley, Sven Lukin, Richard Smith, Frank Stella, and Neil Williams. Alloway's show defined a key feature of abstraction and revealed the participating artists' desire to overthrow existing aesthetic hierarchies. Half a century later, the shaped canvas remains robust in art, encompassing an array of approaches and provoking questions about the continued relevance of painting.
Woodruff Arts Center To Host Inaugural 'Neil Asks' Lecture, 5/17
The Woodruff Arts Center will host the inaugural lecture in the new "Neil Asks" lecture series on Friday, May 17, 2013, at 12:00 p.m. This first lecture, in a conversational format, will discuss leadership and innovation with Atlanta Symphony Orchestra (ASO) Principal Guest Conductor Donald Runnicles and Turner Broadcast System, Inc. Chairman and CEO Philip I. Kent. ASO Vice President for Artistic Planning Evans Mirageas will moderate.
The Woodruff Arts Center will host the inaugural lecture in the new "Neil Asks" lecture series on Friday, May 17, 2013, at 12:00 p.m. This first lecture, in a conversational format, will discuss leadership and innovation with Atlanta Symphony Orchestra (ASO) Principal Guest Conductor Donald Runnicles and Turner Broadcast System, Inc. Chairman and CEO Philip I. Kent. ASO Vice President for Artistic Planning Evans Mirageas will moderate.
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