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Tanya BrodskayaLight, 150x100cm, Oil/Canvas
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Located in Yerevan, AM
Let's keep silent together, 100x80cm, acrylic on canvas
Category
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Materials
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Feeding the birds, 60x80cm, acrylic on canvas
Located in Yerevan, AM
Feeding the birds, 60x80cm
Category
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Materials
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Escape from reality, 100x80cm, acrylic on canvas
Located in Yerevan, AM
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Category
2010s More Art
Materials
Canvas, Oil
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Lady and the Unicorn, 100x90cm, acrylic on canvas
Located in Yerevan, AM
Lady and the Unicorn, 100x90cm
Category
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Materials
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Lady and the Hares, 80x60cm, acrylic on canvas
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Lady and the Hares, 80x60cm
Category
2010s More Art
Materials
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Caring for creation, 60x80cm, acrylic on canvas
Located in Yerevan, AM
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Category
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Materials
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Budd Hopkins was one of the leading proponents of the "hard-edge" abstract minimalist school of painting in the 1950s and 1960s, Budd Hopkins (born 1931) created works that show the strong influence of Jackson Pollock and other leading painters of the Abstract Expressionism movement. Hopkins' paintings are now in numerous major collections, including the San Francisco Museum of Art, the Guggenheim Museum in New York, and the Hirshhorn Collection in Washington, DC.
Recently, he has also been recognized for his research into the matter of UFOs and one of his books, "The Intruders", printed by Random House, was on the New York Times best-seller list and was the basis for a television show on CBS.
Born in 1931, he is a graduate of Linsly Military Institute (now Linsly School) in 1949 and Oberlin College in 1953. He first displayed artistic abilities when, as a child recovering from a long-term illness, he began to create sculptures of ships made out of modeling clay. But it wasn't until he arrive at Oberlin that he made a serious study of art. Later, Hopkins included abstracted figures in his sculptural pieces. While moving away from Abstract Expressionism, Hopkins retained in his work the use of intense colors and hard-edged forms. His works of the 1980s, including Temples and Guardians, featured these "sentinels" who were, according to Hopkins, "participating in a frozen ritual, fixed – absolutely – within a privileged space..." Though Hopkins denied any connection, some critics viewed these ritualistic pieces as an extension of Hopkins' fascination with alien beings. Hopkins viewed his sculpted guardians not as human per se, but as magical, fierce, noble robots of the unconscious.
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