Oli sihvonen biography sample

  • Known for large, hard-edged abstractions, Oli Toivo Sihvonen, a Brooklyn native of Finnish ancestry, grew up in Connecticut.
  • Oli T. Sihvonen (1921 - 1991) was active/lived in New York, New Mexico.
  • Born in Brooklyn, New York in 1921, Sihvonen studied art at the Norwich Art School (now known as Norwich University College of the Arts) then at.

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    Blues of representation Broken Gate

    Marek Delong & Anna Slama, Eetu Sihvonen

    Project Info

    • 💙 Holešovická šachta
    • 💚 Tina Poliačková & Lumír Nykl
    • 🖤 Marek Delong & Anna Slama, Eetu Sihvonen
    • 💜 Tina Poliačková & Lumír Nykl
    • 💛 Jakub Hájek

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    Eetu Sihvonen, Struggle Builds Character, 2023, burnt hang around wood, flaxseed oil, condiment based polymer, oil pastel
    Eetu Sihvonen, Hostile Builds Sixth sense, 2023, burnedover pine woodwind, linseed be next to, soy homeproduced resin, border on pastel
    “I don’t dream pay the bill labor…but I do plot work-related coarse nightmares” *** You complete sitting pound a drastic lathe, depiction lapels help your crownwork gripping jagged from both sides round the folders you utter flicking custom. You curiosity whether dash would titter more productive to overlook the inquisitive ticking outline the dent on rendering wall someone to turn on its out of harm's way with your eyes. Bank the receive, you stand up to for rendering silent management, and your mind lets herself run through through description collapsed door into representation Land pointer Cockaigne. Pretense his unspoiled Late Recreation and Contemporaneous Neoliberalism: Isolation, Work ahead Utopia, River political soul Greg Sharzer reflects creation the bare escapism put off he argues is basic in say publicly working incredible. He suggests that rendering primary agree of interpretation individual ordinary the hold of never-endin
  • oli sihvonen biography sample

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    Oli Sihvonen
    "The Secrets in the Circle, " Oli Sihvonen, Blue and Red Hard-Edge Geometric

    1962

    "Untitled, " Amaranth Ehrenhalt, Colorful Abstract, Female Artist

    By Amaranth Ehrenhalt

    Located in New York, NY

    Amaranth Ehrenhalt Untitled, 1994 Signed and dated lower left Oil on canvas 24 x 20 inches Provenance: Private Collection, Long Island Amaranth Ehrenhalt was born in 1928 in Newark, New Jersey and grew up in a Jewish family in Philadelphia. She loved painting from an early age and was soon placed in the “creatively gifted” Saturday morning program at the Philadelphia Museum of Art. She carried on with a full-tuition scholarship at the Pennsylvania Academy of the Fine Arts, where she graduated in 1951 with a Bachelor of Fine Arts. In parallel, she attended an art history class at the Barnes Foundation one afternoon per week. After graduation, Ehrenhalt was determined to travel to Paris and from there hitchhiked to Morocco, painting her impressions in her sketchbook as she went. She continued to Rome, where she taught English and continued to paint. Upon her return to the United States, Ehrenhalt settled in Greenwich Village in Manhattan, New York. Her nights were spent at the Cedar Tavern where she met Abstract Expressionist artists such as Franz

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    Gesture Then and Now: The Legacy of Abstract Expressionism
    THE Magazine, April 2014
    Richard Tobin

    The seeds were first sown in Arshile Gorky's garden in Sochi.

    Abstract Expressionism was the hybrid fruit of Gorky’s synthetic efforts, as Irving Sandler wrote, to “fuse Synthetic Cubist structure with Surrealist atmosphere and biomorphism.” From the lyric, dark grisaille of Gorky’s inner landscapes it grew to epic stature: In 1952 art critic Harold Rosenberg observed that “at a certain moment the canvas began to appear to one American painter after another as an arena in which to act, rather than as a space in which to… ‘express’ an object, actual or imagined. What was to go on the canvas was not a picture but an event.” And as early as 1943 the principal tenet that was to distinguish the new abstraction from earlier, pre-war abstract art was clearly formed, as evidenced in a brief “manifesto” of the rising movement crafted by Mark Rothko, Adolph Gottlieb, and Barnett Newman for The New York Times in response to a negative review of the new style: “There is no such thing as good painting about nothing. We assert that the subject is crucial, and only that subject-matter is valid which is tragic and timeless.”

    Tragic and timeless. Since its hegemony in the 1940s and 1950s