Sentences with phrase «about your relationship with painting»

Can you talk about your relationship with painting?

Jean - Baptiste Bernadet has often spoken about his relationship with painting: «My approach isn't radical.

Could you say a few words about your relationship with painting, sculpture, and hybrids of the two?

Not exact matches

We talk to Beccy about the origins of her work, and trace her relationship with clay back to a childhood spent drawing, painting and making in her mum's studio...

The over-hyped, pretentious modern art scene in London is satirized in this dark ensemble comedy about the double dealings and calculated relationships encircling the effort to get an aging collector to part with a valuable painting.

Beginning with the doom - laden «Take Shelter,» composer David Wingo has had a unique musical relationship with director Jeff Nichols, painting a world of southern gothic characters without being particularly «southern» about it with «Joe,» «Mud» and the forthcoming «Loving.»

The story is about the real - life Art Deco painter Tamara de Lempicka, and the relationship she strikes up with her muse, Rafaela, the woman depicted on the jacket in the painting Beautiful Rafaela.

Weber taught him about Cubism and non-representational painting; Gorky taught him about Surrealism, the imagination, and mythic imagery; and Milton Avery, with whom he was good friends for many years, taught him about using thin layers of flat color to create depth through color relationships.

Recently, the artist has been contemplating about her relationship with the natural world and the history of landscape painting in Canada.

The panel will explore the timeliness of this recent iteration of digital abstraction, with three artists who variously work through issues such as: how gesture, expression, and authenticity might continue to be possible in a contemporary image - based culture; whether our digital era truly produces an ahistorical condition in which images and marks have no specific reference and no relevant point of origin; how structures of and interfaces with digital technologies have necessitated new models for thinking about memory, distribution, and reproduction, as well as degradation, rupture, breakdown, and the void; and how the ubiquity of the screen in all aspects of life has given rise to a renewed interest in the relationship between two - dimensional and three - dimensional space, with a refreshed focus on tromp l'oeil and «topographical» painting.

Barnett Newman famously said about his monolithic Vir Heroicus Sublimis that he expects the viewer to interact with the 20 foot - long work by moving across the entire length of the painting to be able to grasp the changing aspect ratios and relationships between elements.

Neo-futuristic abstract expressionism best describes the genre of Johnathan's work; colorful and evocative, his paintings create powerful visual discourses about the relationships we form with pop culture and its most iconic characters.

K: I think a lot about the relationship to the edge with painting and drawing, the limits of medium.

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.

Gina began making abstractions in the studio and I began making large collages in acrylics; the colors I added became less about enhancing the colors in the subject and more about making new relationships emerge from the field — in this sense I see myself going back to the way I worked in «Night», although now including work from observation (I start the collages with painting outdoors).

Nordland speaks about his birthplace and childhood home; parent's occupations; interests as a child; beginning interest in art history; first visits to the Los Angeles County Museum; relationship with Lincoln Kirstein; move to Yale; his book on Gaston Lachaise; attending the University of Southern California; meeting Man Ray; German sculpture; being drafted; first meeting with Richard Diebenkorn and working with Diebenkorn on a book; getting out of the Army; first paintings purchased; writing for «Frontier» magazine; the invitation to work at the Chouinard Art Institute; Institute teachers such as Richard Ruben, Robert Irwin, Don Graham; the founding of the California Institute of Arts (CalArts); classes and professors at CalArts; move to San Francisco in 1966; shows curated by Nordland on Gaston Lachaise, Fred Sommer, Peter Voulkos, Richard Diebenkorn, Burri, Caro, «African Art in Motion,» Fritz Gardner, Jack Jefferson, Ed Moses, Controversial Public Art; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and California.

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.

Each piece is so completely thought out to blend in with this exceptional house from lamps, to terracotta pots, a painting, a chess set, a self - assembly money box which resembles a maquette of a larger piece of furniture housed downstairs and the television in the Living Room showing a filmed performance of Gander's 2003 radio play about Goldfinger's relationship to Trellick Tower, complete with Foley sound effects showing that Goldfinger is a subject that has been close to his heart for many years.

«There's something about the dark light of Barcelona and its gloomy interiors that provokes a relationship with dark colours when I paint here,» he says.

There is a certain trance - like state that we all enter to varying degrees when we make our work, but I am invested in balancing that with more conscious thinking about the marks I make and the relationships they have to each other in the paintings.»

which translates roughly as Everything should (will) disappear, will see Nadège Dauvergne present her works which portray figures from historical paintings and places them into new environments, creating associations from ideas and forcing us to ask questions about our relationships with money and the sacred in our modern society.

Essentially, continuing his love / hate relationship with painting and the art market, he transcribed vitriolic blog commentary about contemporary art exhibitions onto large, fairly open canvases.

If Anderson's paintings have contemporary affinities in practices (especially with that of Peter Doig, his former teacher), the theoretical contexts they summon are well - rooted — in particular those teleological forecasts about the relationship between his chosen genres as articulated by critics including Kenneth Clark and Clement Greenberg; the latter wrote, in 1949, of the evolutionary conundrum whereby French painting «was brought to the verge of abstraction in and by its very effort to transcribe visual experience with ever greater fidelity.»

I am writing this statement not quite knowing what the immediate outcome will be, but am aware of the potential collective impact that this distinctive community of creators will have with Brian Belott's innovations in collage, Ákos Birkás's philosophy about painting a certain situation, Regina Bogat's devotion to art making with clever variations on certain abstract themes, Matt Bollinger's extra-large and bracing graphite drawings, Paul DeMuro's painterly electricity, Marc Desgrandchamp's time - fragmented paintings, Michael Dotson's paintings of the «Disney - esque,» Michel Huelin's relationship with nature and software, Irena Jurek's very meaningful cat character, Alix Le Méléder's proposals of four colors determined by the passage of the brush, David Lefebvre's painted images cut out of magazines or downloaded from a mobile phone, Pushpamala N.'s ethnographic documentations which have been compared to Cindy Sherman, Wang Keping's unique wooden sculptures that juxtapose vivid emotion with a marked sense of introversion, Katharina Ziemke's pictorial treatment of current events, and me, the co-host with a small drawing.

While not conforming to any of the stylistic or formal norms of the day, he managed to have strong relationships with both Minimalism and the hyper - real works of an artist like Chuck Close, who sought to bring representation back into painting through a way of looking that was as much about abstraction.

Curtis» relationship with painting is one echoed by studio mate Kevin White, who shares an unspoken understanding about the painting process (both are primarily nonverbal); it isn't a delicate or precious endeavor, but messy and abundant, covering every studio surface in the large area of V+V where they make work.

Tyler and Claes (who are studio mates and whose studio time often involves philosophical discussions about art and life) both describe their relationships with painting as a physical experience.

Of these connections, I note an interest in paintings of modest scale (a stated interest which is not consistently reflected by the paintings chosen for Reinventing), in «low - key» or unassuming compositions, and a fixation on the artists» renewed «curiosity about paint's material possibilities» («Provisional») and their «rediscover [y][of] the possibilities of painting on stretched canvas, and working with oil paint, figure / ground relationships, [and] applying paint with a brush instead of spraying or folding or pouring or staining» (Reinventing).

About Blog Internationally recognized artist Woody Hansen, had a close relationship with watercolor painting for over fifty - five years.