Sentences with phrase «image painting phenomenon»

In the early 1980s, when he sprang to fame as part of the New Image Painting phenomenon (with Schnabel...

Not exact matches

These seemingly abstract paintings are arguably the most complete representation of the phenomena, due to the various images depicted in multiple mediums, each providing another layer of information.

These found images, mostly transferred to the canvas by means of airbrush painting, depict explosive war scenarios and natural phenomena.

Working outwards from this moment, the exhibition traces several related phenomena: the artistic innovations of poured paint and stained raw canvas; the social implications of decoration; authorial control vs. materiality; the body and painting; and the image of the woman painter and related questions of gender and identity.

These records of the phenomenon of abstract murals painted on truck s, echo design aspects from different European artists which Tudela highlights in order to explore the overlapping histories through which images are generated, translated and interpreted.

Her paintings attempt to convey this phenomenon through an iconography that embeds images of graphs and statistics showing data related to urban growth as well as actual maps of cities, thereby creating an aesthetic that is harmonic and delicate, in contrast with the cold images of standard graphs.

Nathan Cohen's paintings explore the nature of our relationships with phenomena in the world around us, and how this can be altered through images and physical interaction with space and visual form.

Each artist used their own signature medium to create works surrounding the themes of time, space and psychology: Futo Akiyoshi with minimal images of spaces; Kouichi Tabata through motion paintings; and Takahiro Ueda utilises naturally occurring phenomena with a series of constructions built around quartz crystals.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezePaintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings reimagine the still life as a chance freeze - frame.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

What Kenneth Noland did was to drop one of Gottlieb's «orbs» down to centre on one of his «splashes», to create a centralised image, whilst retaining the surrounding areas of unpainted cotton - duck canvas, which has the effect of emphasising the literalness of the painting as object, within which an optical phenomenon is set.

The paintings invoke a sense of pareidolia, a psychological phenomenon whereby the viewer sees a face or some other familiar image in an abstract pattern.

The paintings invoke a sense of pareidolia, a phychological phenomenon whereby the viewer sees a face or some other familiar image in an abstract pattern.