Sentences with phrase «about painting as object»

A frayed edge or loose flap here and there should get formalists talking even louder about painting as object.

Not exact matches

Over and over again in the catalog, we read about Ligon's love for painting — de Kooning's Pirate (Untitled II)(1981) is a favorite, apparently — and how he, um, «opened up the semantic rules of identity and linguistic constructions between object - text and image - sign relations through the use of photography and text based on the appropriation of language, sign, text, and speech as material for his painting practice.»

The way I've figured to go about doing this through objects is to always try to surprise myself, decision by decision, as I build each painting with the hope that the viewing experience mimics this process, meaning that I hope that the painting unfolds, collapses, comes back together and unfolds again in a different way as the viewer navigates through it.

As much as Rauschenberg's work of the early 1950s had been championed for its elimination of painterly conventions — no subject, no image, no taste, no object, no beauty, no message — Untitled [glossy black painting] makes the case that Rauschenberg was equally radical for what he was willing to let in — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvaAs much as Rauschenberg's work of the early 1950s had been championed for its elimination of painterly conventions — no subject, no image, no taste, no object, no beauty, no message — Untitled [glossy black painting] makes the case that Rauschenberg was equally radical for what he was willing to let in — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvaas Rauschenberg's work of the early 1950s had been championed for its elimination of painterly conventions — no subject, no image, no taste, no object, no beauty, no message — Untitled [glossy black painting] makes the case that Rauschenberg was equally radical for what he was willing to let in — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvas.

They both confront painting as about time and restraint with painting as an object of pleasure.

These hundreds of objects that looked like framed, matted, fields of painted blackness, worked as neutral, «generic signs» that might inspire the viewer to think about the social expectations that constructed the «idea» of a painting,» more than the actual painting itself.

They are as concerned with being an object, as about painting itself.

At one point, the total abandonment of the recognizable object, that we saw as the 20th century progressed, and in the works of Wassily Kandinsky and Jackson Pollock, seemed to place color, marks, drips, at the center of the paintings, making the act of painting all about the painting itself.

There seems a need among many painters to grapple with the physical, to think about a painting as not just an image but an object.

Schimmel has organized major one - person retrospectives for artists Chris Burden, Willem De Kooning, Takashi Murakami, Laura Owens, Sigmar Polke, Charles Ray, and Robert Rauschenberg, and significant thematic exhibitions such as The Interpretive Link: Abstract Surrealism into Abstract Expressionism, Works on Paper, 1938 - 1948 (1987), The Figurative Fifties: New York Figurative Expressionism (1988), Hand - Painted Pop: American Art in Transition 1955 — 62 (1992), Helter Skelter: LA Art in the 1990s (1992), Out of Actions: Between Performance and the Object, 1949 - 1979 (1999), Ecstasy: In and About Altered States (2006), and Collection: MOCA's First 30 Years (2010).

In a statement about her work for a recent exhibtion at Cooper Cole Gallery in Toronto, Luloff wrote: «By painting my close friends and the objects in my studio I have a special moment of intimacy with them... The act of drawing these items, as well as patterns inspired by time spent in India, is a meditation on passing time, on pacifying, and creating a demarcation of my daily experience in the studio.

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.

In answer to questions about an artwork's appearance they created newfangled forms, such as Donald Judd's early wall objects in 1962, which were neither paintings nor sculptures; or Dan Flavin, who opted for fluorescent tubing instead of conventional painting or sculpting media; or Fred Sandback, who saw the partition of a space as a sculpture; or Michael Asher, who intervened in the material conditions of the exhibition space; or indeed Lawrence Weiner, who described his works in a range of materials linguistically.

However, her implementation of yoga mats (an object whose typical use takes the impressions of hands and feet while it's being covered in sweat) as a medium and substitute for paint, allows us to have a conversation about the index.

Inflorescence utilizes mechanisms of the changing image and object as a way of thinking about the static nature of painting and sculpture.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

In my attempt to learn how to see as well as develop my language in painting, I am thinking about the studio as a library of personal history and interests and how those objects and collections relate to my art history lineage.

For artists like Robert Rauschenberg, Claude Viallat, Elizabeth Murray, Blinky Palermo, Rochelle Feinstein, and Michael Venezia, painting has arguably been about the object more than about the image, and in the past decade or so, a slew of artists working with found materials, furniture, lumber, and more have adopted a painting - as - object, amalgamated approach to art making.

Johns» fastidious, elegant paintings are indubitably high brow, but what about Rauschenberg's messy combine paintings which incorporated objects such as a stuffed goat encircled by a tire?

While Remi's art has always been about creating dimension within the depths of a canvas or a wall, his new works have taken that idea in an exciting new direction, by transforming a three dimensional object such as a skull through the application of paint and by extracting complex shapes from the flat canvas into sculptural forms.

The exhibition, on view in Cleveland from October 17, 2010, to January 17, 2011, will provide American audiences with an unparalleled opportunity to see about 100 extraordinary works of late antique, Byzantine, and Western medieval art, including precious metalwork objects, paintings, sculptures, and illuminated manuscripts, drawn from public and private collections as well as church treasuries across the United States and Europe.

And perhaps more importantly, through a process of creating and then painting bronzes, Gavin Turk builds high - art sculptures that act as «fake» readymades, calling into question every assumption we have about viewing objects — from McDonald's wrappers, to the glittering stadiums that tower above them.

So I started to look at the differences between those who make monochromatic paintings, and to note how they all think differently about surfaces and paintings as objects.

Rail: It's interesting because lately I've been thinking about sculpture as having this potential that painting doesn't really have, to reclaim objects in the world, reconsider them.

Objects, most importantly household tools, began to appear in his work at about the same time; a hands - on quality distinguished these pieces, which combine elements of painting, sculpture, and installation, as well as works in various other media, including etching and lithography.

He came into his own as an artist in the age of Watergate, after painting had been declared dead, the object superfluous and originality a privilege of the past — at a time when just about everything that used to define what great art could be now provoked distrust for the artist and many of his generation.

I mean that Stella has always been ambivalent not only about whether one should perceive painting as an object or an abstraction, but also about the status of painting as

I was coming to grips with my feelings about the landscape and what was in it, though, so I incorporated objects or places into my paintings, such as graveyards and tenant houses.

My work is about reclaiming, re-visioning and re-presenting paintings that were created at a time when women were seen as objects rather than equal participants in the creative dialog.

I suppose this ties into the stained glass window question, too, but it made me want to ask why you were drawn to work on vellum, how you think about the transparency / opacity of paint, and then too, the fragility of a work of art, both as a material object and a site of personal... I want to say expression, but that seems like the wrong word somehow.

Stella's early stripe paintings demonstrate Stella's acute awareness of the issue of objecthood insofar as those paintings explicitly took painting about as far as it could go (without being a blank expanse of stretched canvas hung on the wall) toward objecthood without declaring their existence as mere objects.

«At once, Johns extinguished speculation about the meaning of individual paintings and directed attention to them as objects among other objects», wrote the critic Harold Rosenberg.