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Jules Langsner (1911—1967) was an American art critic and psychiatric social worker. Born in New York City in 1911 and died in 1967 in California. Although born in New York, Langsner did not grow up in New York. He and his family moved to Ontario, California shortly after his birth.[ citation needed ]
Langsner has become associated with the term that he coined, along with Peter Selz, "hard-edge painting." [1]
Kenneth Noland was an American painter. He was one of the best-known American color field painters, although in the 1950s he was thought of as an abstract expressionist and in the early 1960s he was thought of as a minimalist painter. Noland helped establish the Washington Color School movement. In 1977, he was honored with a major retrospective at the Solomon R. Guggenheim Museum in New York that then traveled to the Hirshhorn Museum and Sculpture Garden in Washington, D.C., and Ohio's Toledo Museum of Art in 1978. In 2006, Noland's Stripe Paintings were exhibited at the Tate in London.
Hard-edge painting is painting in which abrupt transitions are found between color areas. Color areas often consist of one unvarying color. The Hard-edge painting style is related to Geometric abstraction, Op Art, Post-painterly Abstraction, and Color Field painting.
Peter Voulkos was an American artist of Greek descent. He is known for his abstract expressionist ceramic sculptures, which crossed the traditional divide between ceramic crafts and fine art. He established the ceramics department at the Los Angeles County Art Institute and at UC Berkeley.
Philip Guston was a Canadian American painter, printmaker, muralist and draftsman. "Guston worked in a number of artistic modes, from Renaissance-inspired figuration to formally accomplished abstraction," and is now regarded as one of the "most important, powerful, and influential American painters of the last 100 years." He frequently depicted racism, antisemitism, fascism and American identity, as well as, especially in his later most cartoonish and mocking work, the banality of evil. In 2013, Guston's painting To Fellini set an auction record at Christie's when it sold for $25.8 million.
Nathan Oliveira was an American painter, printmaker, and sculptor, born in Oakland, California to immigrant Portuguese parents. Since the late 1950s, Oliveira has been the subject of nearly one hundred solo exhibitions, in addition to having been included in hundreds of group exhibitions in important museums and galleries worldwide. He taught studio art for several decades in California, beginning in the early 1950s, when he taught at the California College of Arts and Crafts in Oakland. After serving as a Visiting Artist at several universities, he became a Professor of Studio Art at Stanford University.
The Berkeley Art Museum and Pacific Film Archive are a combined art museum, repertory movie theater, and archive associated with the University of California, Berkeley. Lawrence Rinder was Director from 2008, succeeded by Julie Rodrigues Widholm in August, 2020. The museum is a member of the North American Reciprocal Museums program.
Ronald "Ron" Davis is an American painter whose work is associated with geometric abstraction, abstract illusionism, lyrical abstraction, hard-edge painting, shaped canvas painting, color field painting, and 3D computer graphics. He is a veteran of nearly seventy solo exhibitions and hundreds of group exhibitions.
Hans Gustav Burkhardt was a Swiss-American abstract expressionist artist.
Funk art is an American art movement that was a reaction against the nonobjectivity of abstract expressionism. An anti-establishment movement, Funk art brought figuration back as subject matter in painting again rather than limiting itself to the non-figurative, abstract forms that abstract expressionists such as Jackson Pollock and Mark Rothko were depicting. The movement's name was derived from the jazz musical term "funky", describing the passionate, sensuous, and quirky. During the 1920s, jazz was thought of as very basic, unsophisticated music, and many people believed Funk was an unrefined style of art as well. The term funk also had negative connotations because the word had an association with a foul odor. Throughout the 1960s and 1970s, Funk was a popular art form, mainly in California's Bay Area in the United States. Although discussed as a cohesive movement, Funk artists did not feel as if they belonged to a collective art style or group. This is because while its artists shared the same attitudes and created similar works, they were not necessarily working together.
Karl Stanley Benjamin was an American painter of vibrant geometric abstractions, who rose to fame in 1959 as one of four Los Angeles–based Abstract Classicists and subsequently produced a critically acclaimed body of work that explores a vast array of color relationships. Working quietly at his home in Claremont, CA, he developed a rich vocabulary of colors and hard-edge shapes in masterful compositions of tightly balanced repose or high-spirited energy. At once intuitive and systematic, the artist was, in the words of critic Christopher Knight, "a colorist of great wit and inventiveness."
Lorser Feitelson (1898–1978) was an artist known as one of the founding fathers of Southern California–based hard-edge painting. Born in Savannah, Georgia, Feitelson was raised in New York City, where his family relocated shortly after his birth. His rise to prominence occurred after he moved to California in 1927.
Herbert Alexander Gentry was an African-American Expressionist painter who lived and worked in Paris, France, Copenhagen, Denmark (1958–63), in the Swedish cities of Gothenburg (1963–65), Stockholm, and Malmö (1980–2001), and in New York City (1970–2000) as a permanent resident of the Hotel Chelsea.
John Dwyer McLaughlin was an American abstract painter. Based primarily in California, he was a pioneer in minimalism and hard-edge painting. Considered one of the most significant Californian postwar artists, McLaughlin painted a focused body of geometric works that are completely devoid of any connection to everyday experience and objects, inspired by the Japanese notion of the void. He aimed to create paintings devoid of any object hood including but not limited to a gestures, representations and figuration. This led him to the rectangle. Leveraging a technique of layering rectangular bars on adjacent planes, McLaughlin creates works that provoke introspection and, consequently, a greater understanding of one's relationship to nature.
Frederick Hammersley was an American abstract painter. His participation in the 1959 Four Abstract Classicists exhibit secured his place in art history.
Peter Plagens is an American artist, art critic, and novelist based in New York City. He is most widely known for his longstanding contributions to Artforum and Newsweek, and for what critics have called a remarkably consistent, five-decade-long body of abstract formalist painting. Plagens has written three books on art, Bruce Nauman: The True Artist (2014), Moonlight Blues: An Artist's Art Criticism (1986) and Sunshine Muse: Modern Art on the West Coast, 1945-70 (1974), and two novels, The Art Critic (2008) and Time for Robo (1999). He has been awarded major fellowships for both his painting and his writing. Plagens's work has been featured in surveys at the Museum of Modern Art, Los Angeles County Museum of Art (LACMA), Whitney Museum, and PS1, and in solo exhibitions at the Hirshhorn Museum and Las Vegas Art Museum. In 2004, the USC Fisher Gallery organized and held a 30-year traveling retrospective of his work. Critics have contrasted the purely visual dialogue his art creates—often generating more questions than answers—with the directness of his writing; they also contend that the visibility of his bylines as a critic has sometimes overshadowed his artmaking—unduly. Los Angeles Times critic David Pagel described Plagens's painting as a "fusion of high-flying refinement and everyday awkwardness" with an intellectual savvy, disdain for snobbery and ungainliness he likened to Willem de Kooning's work. Reviewing Plagens's 2018 exhibition, New York Times critic Roberta Smith called the show an "eye-teasing sandwich of contrasting formalist strategies," the hard-won result of a decade of focused experimentation.
Amy Goldin was an American art critic who worked from 1965 until 1978. In those thirteen years, she published almost 200 pieces, from single paragraph reviews of current exhibitions, catalog essays, and book reviews. She covered topics that were unconventional at the time: Folk art, African-American art, craft, decoration, graffiti and Islamic art. Her writing appeared regularly in Arts, ARTnews, Artforum, Art Journal, New American Review, International Journal for Aesthetics and Art Criticism, and most frequently in Art in America, where she was a contributing editor.
June Harwood was an American painter based in California who made a name for herself in the 1960s as an inventive artist of the hard-edge movement.
Four Abstract Classicists was a landmark exhibition organized by Jules Langsner in 1959. The show featured the work of Karl Benjamin, Lorser Feitelson, Frederick Hammersley, and John McLaughlin. The term “abstract classicists” was coined in 1959 by Langsner to define these four southern California painters.
Mark Harrington is an American-born Europe-based painter who has exhibited widely in Europe and the United States since the early 1990s.
Peter Howard Selz was a German-born American art historian and museum director and curator who specialized in German Expressionism.
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