
Budd Hopkins Modernist Hard Edged Abstract Expressionist Painting Collage 1966
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Budd HopkinsBudd Hopkins Modernist Hard Edged Abstract Expressionist Painting Collage 19661966
1966
About the Item
- Creator:Budd Hopkins (1931 - 2011, American)
- Creation Year:1966
- Dimensions:Height: 10.13 in (25.74 cm)Width: 8.13 in (20.66 cm)Depth: 1.38 in (3.51 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:frame has wear.
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU38211371672
Budd Hopkins' paintings in the 1960s combined the precise, hard-edge geometric shapes he was enthralled with and drawn to as a child with gestural, atmospheric painting characteristic of second- and later-generation Abstract Expressionists. "I had come to understand that an abstract painting at its most powerful was a kind of aesthetic scrim behind which lurks a concealed, obsessive 'thing' or image of some kind, transformed, made palatable by the artist's mediating skills." Hopkins viewed collage as an artistic technique and a philosophical, aesthetic means of unifying a disjointed and fragmented world. He saw collage, the assemblage of fragments and varying points of view, in the poetry, painting, sculpture, music, architecture, and, especially, motion pictures of his day: "Consciously or unconsciously, contemporary artists work to create harmony from distinctly jarring material, forcing warring ideas, materials and spatial systems into a tense and perhaps arbitrary detente. Seen most broadly, the presence of the collage aesthetic is the sole defining quality of modernism in all the arts." Hopkins worked to achieve harmony, clarity and precision while maintaining a sense of mystery: "I like neither extreme in art wholeheartedly, neither the purified world of geometrical art nor the free, indulgent world of Expressionism." In 1963, Hopkins' work was included in American Painters, a film documentary of American artists and styles with commentary from Alfred Barr of the Museum of Modern Art, Thomas Hess of Art News Magazine, Sidney Janis, gallery director, and Harold Rosenberg, art critic. 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 "sentinals" 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. Hopkins exhibited his paintings and sculptures in museums, galleries such as Andre Zarre, Levis Fine Art and Poindexter (New York) and Jan Cicero (Chicago), and universities throughout the United States. Hopkins had a major retrospective exhibition at the Provincetown Art Association and Museum in the summer of 2017. The Whitney Museum, Washington Gallery of Modern Art, Metropolitan Museum of Art, Museum of Modern Art, Corcoran Gallery of Art, the British Museum, include Hopkins' work in their permanent collections.
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Dongkuk Ahn (1937-2013), better known as Don Ahn, was a South Korean artist and t'ai chi master who resided in New York City.
Don Ahn (Ahn Dong Kuk) was born in Seoul, Korea. He studied at Seoul University (BFA), graduate student at Miami University, Oxford Ohio 1962, Pratt Institute (MFA), and New York University (Ph. D, Art History). Don Ahn was a pioneer of Korean art in America. In the 1950s he was the first Korean artist to move permanently to the US and receive recognition here, beginning with the 1952 exhibition of his work at the Kilbride Bradley Gallery in Minneapolis, the very first exhibition of Korean contemporary art in America. He belongs to the generation of Korean Abstract artists that include Kim Whan-Ki, Park Se-Bo, Lee Ufan, Chung Sang-Hwa, Yun Hyong-Keun and Ha Chong-Hyun. He was also a student of the T'ai Chi grandmaster Cheng Man-ch'ing in New York City.
Ahn's work is greatly influenced by nature, specifically the cycles of nature as in Zen and other Eastern philosophies. Ascribing to the Eastern belief that nature is central to everything that exists, Ahn paints natural forms and environments, which he abstracts into brushstrokes, drips, and splatters. Titles of his paintings reference trees, wind, and water, and include Broken Branch in the Rain, Old Zen Tree, and Wind, Rain, & Ocean. His swirls and drips portray the rapid, random, and untamed effects of natural forces.
Another influence or concept in Ahn's work is the dragon, a good and powerful figure from Korean and Chinese mythology, whose movements and forms Ahn suggests in whimsical ribbon-like marks and trails of paint. In Korean folk tales, dragons show goodwill to humans by sending clouds and rain, and they tend to live in lakes, rivers, and oceans. Paying tribute to this Folkloric legacy, Ahn's paintings bear titles such as Brown Dragon and Yellow Dragon, as well as titles using names of underwater creatures and habitats, like Phantasy in the Deep Sea.
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2014 Don Ahn: Spirit, BBCN Bank, New York, NY
2014 Don Ahn (1937-2013), Walter Wickiser Gallery, New York, NY
2012 Paintings From 1968 Through 2005, Walter Wickiser Gallery, New York, NY
2007 Dragons & Oceans, Ewha Gallery, Seoul, South Korea
2004 Zen & Vold, Walter Wickiser Gallery, New York, NY
1975 Lotus Gallery, New York, NY
1972 Green Mountain Gallery, New York, NY
1972 Westbeth Gallery, New York, NY
1971 Westbeth Gallery, New York, NY
1971 Dalhousie Gallery, Nova Scotia, Canada
1969 Downey Museum, Los Angeles, CA 1965 Evansville Museum, Evansville, IN
1963 Dayton Art Museum, Dayton, OH
1952 Kilbride Bradley Gallery, Minneapolis, MN
1950 Korean Do-Su-Kwan Gallery, Seoul, South Korea
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2013 Coloring Time, Korean Cultural Service, New York, NY
2013 Friends, Walter Wickiser Gallery, New York, NY
2011 Friends, Walter Wickiser Gallery, New York, NY
2011 Art Toronto, Toronto, Canada
2011 Art Chicago, Chicago, IL
2010 Art Toronto, Toronto, Canada
2002 Eastern Essence, Gary Snyder Gallery, New York, NY
2001 Abstract Expressionism, Gary Snyder Gallery, New York, NY
1999 Pleiades Gallery, Seoul University Alumni show, New York, NY
1999 Korean New York Art Society Show, Jersey City, NJ
1999 Fukuoka Asian Art Museum Fukuoka, Japan
1999 Artist of the Third Millennium, Walter Wickiser Gallery, New York, NY
1998 Kaohsiung Museum Of Fine Arts, Taipei, Taiwan
1997 Chicago Institute Of Art, Chicago, IL
1997 Zimmerli Museum, Rutgers University
1997 Asian Tradition & Modern Expression: 1945 - 1970, Zimmerli Museum, Rutgers University
1976 Lotus Gallery, New York
1972 Westbeth Gallery, New York, NY
1971 US National Print Biennial, Museum Of Modern Art, Tokyo, Japan
1969 Cooper Union, faculty show, New York, NY
1968 6th Invitational International Print Biennial, Museum Of Modern Art, Tokyo, Japan
1967 International Print Biennial, Grenchen, Switzerland
1967 Audubon, National Annual, New York, NY
1966 Society of American Graphic Artists, National Annual, New York, NY
1966 Ball State College, National, Drawing and Sculpture, Muncie, IN
1966 Traveling U.S. Print Show, Pratt Graphic Arts Center, New York, NY
1965 Traveling U.S. Print Show, Pratt Graphic Arts Center, New York, NY
1964 New York, Institute of Technology, faculty show New York, NY
1964 Evansville Museum, Indiana
1964 East Coast Printmakers, Village Art Center, New York, NY
1963 Ohio Regional Art Show, Dayton Art Institute, OH
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Category
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By Don Ahn
Located in Surfside, FL
*Card pictured after painting not included.
Dongkuk Ahn (1937-2013), better known as Don Ahn, was a South Korean artist and t'ai chi master who resided in New York City.
Don Ahn (Ahn Dong Kuk) was born in Seoul, Korea. He studied at Seoul University (BFA), graduate student at Miami University, Oxford Ohio 1962...
Category
Late 20th Century Abstract Expressionist Abstract Paintings
Materials
Paper, Ink, Acrylic
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