Sentences with phrase «about painting practices»

There is a video somewhere of an interview where George McNeil is in his studio, quite old, talking about his painting practice.

I recently had the opportunity to ask the artist more about her painting practice, artistic influences, and the sources for her imagery.

Not exact matches

However, I would feel really irritated if we were practicing CIO, and I read about all the harm it was causing my child — no one wants to be painted as being a bad parent!

They love to use everything from painting to collage and this Mosaic Farm Art Activity can lead to many discussions about farming, art, and give your child some fine motor practice as well.

Much of the hysteria about this measure from Conservative MPs and within the right wing press has painted a misleading picture regarding both how capital gains tax works in practice and who pays it.

This way you can sort of practice to be sure you have a feel for how to apply the paint without worrying about it being seen.

I developed PTSD in 2008 after two serious medical accidents, and I have been creating drawings, paintings and poetry about my process of recovery.The purpose of this website is to help trauma survivors put effective self - therapy exercises into practice in their daily lives.

Rather than painting boards and their members with a broad brush, Shober and Hartney spend time defining different types of capacity — possessing accurate knowledge about a district, focusing on student learning, and adopting effective work practices.

The realities Ngounou saw for teachers, administrators, families, and students working in education painted a bleak picture of the future, one in which despite all the hard work a certain feeling of powerlessness about policies and practices remained.

I developed PTSD in 2008 after two serious medical accidents, and I have been creating drawings, paintings and poetry about my process of recovery.The purpose of this website is to help trauma survivors put effective self - therapy exercises into practice in their daily lives.

They don't understand — or begin to think about — the fact that a great performance comes from hard work, that a fine painting or perspective drawing is the result of hours of practice and study.

There are faces, but they are depicted in ways that seem to cancel themselves out: a quick, semi-abstract mark, furtive smudges of paint, a collaged face cut out from another painting... Certainly these works present an accomplished artist asking questions about her own practice, questions such as: How can I paint the body in a more immediate way?

Through the daily practice of painting he is able to relate quotidien activity with wider concerns about the world.

I muse about how art education and painting came to this country and to Canada as an activity for women to practice at finishing school, which was the reason the institutions where I studied were founded.

Howard has long engaged with human cruelty in her practice — «When I paint about human cruelty it's about getting things off my chest,» she says — including in the series Repetition is Truth — Via Dolorosa (2005 — 2009) and Suicide Paintings (2007).

I find myself thinking about the relationship between that back wall, the arrangements on the tables and my painting practice.

This exhibition film features leading British artist, Marcus Harvey, talking about his summer exhibition at Jerwood Gallery, his artistic practice and the painting that was the hot topic at the Sensations exhibition in 1997, the portrait of Myra Hindley.

The first solo show in an Italian museum of Chinese artist Ding Yi will propose a journey of about forty paintings and drawings, a sculpture and an installation that requires the interaction of visitors, which aims to bring the public closer to the man considered to be the most important abstract painter in contemporary China, by presenting his complex artistic practice and evolution from the nineties to the present day to the public.

At Bildmuseet, he presents a new painting about a forcible removal and the practice of guerrilla reindeer herding as a survival strategy.

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, Twentieth - Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

We have selected works that we believe evoke a response to painting and about the practice of painting», explain the curators, Dan Howard - Birt and David Rhodes, in the exhibition's catalogue.

According to Sara Reisman ``... Wojciech Gilewicz» practices is about expanding the scope of painting specifically and art art generally into the realm of daily life, usually public and sometimes private... Gilewicz... questions the very nature of art, dismantling it from the rarified, official spaces of culture to a much wider field that leads to the discovery that life itself as art.»

Through glass works designed and fabricated in Murano and the Seattle area, as well as in paintings, sculpture, prints, and video, Wilson challenges assumptions about history, culture, and display practices, offering alternative interpretations and encouraging viewers to reconsider how they think and what they know.

The artist talks about painting, embroidery, close relationships and how her studio practice develop...

Frances McCormack: Could you say a bit about your background in literature and how it may or may not have influenced your painting practice?

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.»

One could easily gather a slop - feast of artist who «use» color in their practices, but do not think about painting in their conceptual approach.

Faculty who are all practicing artists, graduate students in the School's top - ranked MFA program, visiting artists, critics, authors, gal... More More about BFA in Painting

African - American artist Kehinde Wiley talks about the practice of painting as a conceptual tool to e...

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, 20th Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

McLeod's hardly naive about this realm — he recognizes all too well the usefulness of painting in what he does — yet he remains a steadfast bearer of its gilded history and value, practicing it, then teaching it.

Artists from Robert Rauschenberg to Christopher Wool have fostered skepticism about the role of the hand - made as an indicator of artistic genius or authenticity, a doubt that has found an outlet in a wide variety of paintings and artistic practices since the 1960s.

She wrote in part: «the painting should not be acceptable to anyone who cares or pretends to care about Black people because it is not acceptable for a white person to transmute Black suffering into profit and fun, though the practice has been normalized for a long time.»

Concentrating on three essays about Matisse, Mondrian, and Barnett Newman, Evans fluidly ties together words and pictures from Painting as Model with his own art making practices and autobiographical material.

When Surrealist painter Roberto Matta gave a talk at the New Bauhaus about Automatism — the practice of letting one's subconscious direct his work — Woelffer was deeply affected, and began to experiment with non-objective painting in the studio.

While his practice has sometimes alluded to the work of other artists, it more often replays / repeats general types and formats of photo - based painting as if appearing to be in conversation with those formats but which, in reality, is more accurately about the construction of appearances.

Seen as a whole, his practice raises fundamental and evergreen questions about the value of images and art, the nature and possibilities of painting and film, the intertwined relation of our subjectivity to cultural identity, and the ways we address what we experience in life in parallel to the mediated world of images.

His idiosyncratic practice is about getting inside and exploring this space like a language of his own — somewhere between drawing, painting, and sculpture and between subject, image, and form.

The curators discussed issues of material specificity and spatial concerns in contemporary painting practices, and examined the work of cutting edge artists whose work ignites a dialogue about sculptural and installation forms of painting.

Says Collins of his practice, «painting for me is as much about technique and process as it is about the final artwork.

The artist also talks about meeting King in Montgomery, Ala., using photography in his practice, the influence of «Bill» de Kooning, and the 12 - foot - wide tool he created to rake the paint across the canvas of «Asa's Palace.»

Constant, OriëntSector (1959), (metal, ink on Perspex and oil paint on wood): Motivated by the utopian notion that World War II had ushered in a new era in which the automation of all production would bring about a stable, classless society, Dutch artist Constant began a two - decade - long project to devise an appropriately progressive architecture and urban planning practice.

In her latest series of works, painter Fiona Rae RA has left behind her familiar working practices to explore ideas about the very nature of painting.

I cut, crumple, shroud, shred, stitch, tar, twist, bind, erase, break, tear, and turn the paintings and sculptures I create, reconfiguring them into works that nod to hidden narratives and begin to reveal unspoken truths about the nature of history,» describes Kaphar his practice in his own words.

By reducing paintings to mere signs of themselves, McCollum turned the gallery and the museum setting into a kind of theater, highlighting the drama of presenting, displaying, buying and selling, exchanging, photographing, assessing, criticising, choosing, and writing about the works; the object - paintings at the center of the action were purposely rendered moot, in order to turn one's attention to the supplementary devices and social practices that, in the end, bestow the value on the work.

Beyond the physicality and process of Zammitt's paintings and sculptures, his art making practice is more about color, light and energy, not only from formal perspectives, but to evoke a sense of nature and one's emotions and spirituality.

In this excerpt, Julian Jebb interviews Francis Bacon about his contemporaries in the art world, his working practices and his personal philosophies, such as his belief that true abstract painting is nothing more than «lyrical, charming and decorative».

,» and «And to what extent do the ways in which we write about painting influence both the public's reception of the work and contemporary practice itself?»

As the artists write about their work, some of what they say on this topic applies generally to painting or other art practice.

Despite this turbid content, it remains fashionable to talk about Baselitz's paintings as abstractions, as though the perverse act of reversing the figure — the works at Michael Werner, from the»70s, include some of the first examples of this practice — were merely a technical matter, and as though his painterly explorations were mere attempts to stretch