Sentences with phrase «approach to painting during»

The exhibition examines the artist's stylistic progression featuring work from different decades, and highlighting his conceptual approach to painting during the 1960s and 1970s.

Jack Tworkov: Mark and Grid examined the artist's stylistic progression featuring work from different decades, and highlighted his conceptual approach to painting during the 1960s and 1970s.

Jack Tworkov: Mark and Grid examines the artist's stylistic progression featuring work from different decades, and highlighting his conceptual approach to painting during the 1960s and 1970s.

Content and images by Lianne Minnis This Fall, Beverley Street Studio School had the pleasure of hosting artists Brian Rego and Matt Klos, who shared their approaches to painting during free lectures and an exciting, informational workshop, Perceptual Painting with the Landscape, Interior, and the -LSB-...]

Not exact matches

Unfortunately for the Bank of Canada, market participants have struggled to accept that the paint - by - numbers approach to communication that became the norm during the financial crisis was never meant to last.

Poisons and Other Toxic Substances During your pre-baby life, you may have had a haphazard approach to the use, storage, and disposal of medicines, paints, and household - cleaning agents.

The Obama go - it - alone approach to politics paid huge dividends during the 2008 campaign as it allowed him to paint himself as the consummate outsider in an election where people were craving just that.

Coming of age as an artist in 1950s New York, Katz developed his unique approach to contemporary representational painting during the height of Abstract Expressionism.

During the exhibition preview, much was made of the artist's fully contemporary approach to painting, and it's hard to argue this point.

For this exhibition Gallery Director David Cowan has assembled a group of paintings from 1966 and 1967 that are meant to document and display a very brief but important period in the painter's output that saw him transition from a pure Abstract Expressionist approach to the minimal / geometric mode of expression that became his hallmark during the final fifteen years of his life.

While other artists like Richard Tuttle and William T. Wiley were also experimenting with the unstreched canvas during the same period, Gilliam's sculptural approach was revolutionary in that it repositioned the viewer's relationship with the painting to include the object as well as the space around it, blurring the boundary between painting, sculpture, and architecture for the first time.

Mike Calvert, ever independent in his attitude to group excursions, takes an almost contrarian approach, choosing painting as his medium for representing a «new style of computer aesthetic» at #ETINTERBRO, while — during an obliviously dangerous first night swim in the buoyant salt water of a pitch black Dead Sea — he describes a Milan gallery's outrage over an exhibition with fellow brotherhood member Miltos Manetas in 2001.

Influenced by representational artists such as Fairfield Porter and Alex Katz, during her studies Fish was not always encouraged in her realistic approach, considering the fact that prestigious university's art programs advocated the idea of inferiority of the figurative painting in relation to abstraction or conceptual work.

During the late 1940s Jackson Pollock's radical approach to painting revolutionized the potential for all contemporary art that followed him.

Alex Katz (born 1927) surprised the American art world during the 1950s with his refreshingly innovative approaches to painting portraits, landscapes, and still lifes.

During the late 1940s Pollock's radical approach to painting revolutionized the potential for all contemporary art that followed him.

During this period Piet Mondrian's painting Composition No. 10, 1939 — 1942, characterized by primary colors, white ground and black grid lines clearly defined his radical but classical approach to the rectangle and abstract art in general.

During the late 1940s and early 1950s, Pollock's radical approach to painting revolutionized the potential for all Contemporary art following him.

Turning away from the approaches of artists like Pollok and Kline during the 1960s, Guston's paintings came to include his own cartoon - style realism, combining elements of gestural abstraction with a return to figuration.

Where an early generation of artists had portrayed the romantic lure of the American Southwest during the nineteenth - century using European Academic painting traditions to represent the environment and inhabitants of the region as exotic, Modern artists took a very different approach.

During the interview, Katz tells Clark that to him «the surface is the whole thing», however, as I've learned, there is nothing superficial about the processes he goes through and the history of the development of his approach to his paintings and subjects that could, in any way, be interpreted as shallow.

Although there are a few overlaps between Hoptman and Siegel's projects (Laura Owens and Mary Weatherford in the exhibition, joined by Amy Sillman in the book), the contemporary work in Pretty Raw is part of a revisionist history that Siegel had already begun to articulate in her 2006 exhibition High Times, Hard Times, where she traced New York painting's turn toward an inclusive approach — in every sense — to the medium during the 1960s and»70s.

While many of the works in the exhibition engage with a looser, more experimental approach to form, color, and composition, others relate more directly to fully - realized works, such as his proposals for compositions for To The People of New York, a large - scale installation of paintings comprised of forty metal panels grouped in variations of red, yellow, and black, which occupied most of his artistic focus during the last year of his lifto form, color, and composition, others relate more directly to fully - realized works, such as his proposals for compositions for To The People of New York, a large - scale installation of paintings comprised of forty metal panels grouped in variations of red, yellow, and black, which occupied most of his artistic focus during the last year of his lifto fully - realized works, such as his proposals for compositions for To The People of New York, a large - scale installation of paintings comprised of forty metal panels grouped in variations of red, yellow, and black, which occupied most of his artistic focus during the last year of his lifTo The People of New York, a large - scale installation of paintings comprised of forty metal panels grouped in variations of red, yellow, and black, which occupied most of his artistic focus during the last year of his life.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

For these artists, who were in their 30s and 40s during the 1980s, it was not a question of a «return to painting,» but, rather, of finding a bridge between the radical, deconstructive abstraction of the late 1960s and 1970s (which many of them had been marked by) with a larger painting history and more subjective approaches.

Inspired by the powerfully spontaneous drawings by Luciano Castelli on view this last November at the special exhibition «From White to White» at the Kaufhaus Jandorf, as well as in the gallery show «Revolving Paintings», we will further explore the theme of black & white with a group show: works by various artists represented by the gallery will introduce different approaches to monochromatic representation in contemporary art, and simultaneously draw a link to the very present medium of film during the Berlinale Film Festival.

Realized during Mosset's Parisian days — where in the second half of the sixties with Daniel Buren, Michel Parmentier and Niele Toroni, Mosset founded the minimalist collective BMPT — these paintings are part of a series of circa 200 identical canvases that Mosset produced between 1966 and 1974 and epitomize his radical approach to art making.

Alex Katz developed his unique approach to painting in 1950s New York during the height of Abstract Expressionism.

Serving as a window into the painter's early work and artistic roots, Düsseldorf: Paintings from the early 90's is a collection of paintings never before shown in the U.S. Shown in Cologne and Munich during 1991 and 1995, these paintings posses a bold approach to abstraction, with their provocative aesthetic strength and impressive historical aPaintings from the early 90's is a collection of paintings never before shown in the U.S. Shown in Cologne and Munich during 1991 and 1995, these paintings posses a bold approach to abstraction, with their provocative aesthetic strength and impressive historical apaintings never before shown in the U.S. Shown in Cologne and Munich during 1991 and 1995, these paintings posses a bold approach to abstraction, with their provocative aesthetic strength and impressive historical apaintings posses a bold approach to abstraction, with their provocative aesthetic strength and impressive historical awareness.

During this period, stimulated by his interest in jazz, improvisation became an important element in his approach to painting.

The lineage for this approach goes even farther back than Murray and Stella, however, to include the paintings / performances of the Gutai group in Japan and Support / Surface in France, two of the more overlooked tendencies during the height of Color Field Painting and Minimalism.

One of the most acclaimed artists working today, Alex Katz (b. 1927) surprised the American art world during the 1950s with his refreshingly innovative approaches to painting portraits, landscapes, and still lifes.

Ward was plagued with various health problems during those years and his inherently spiritual approach to artmaking found a deepened release in these paintings, which often featured a rising central axis that, widening as it rose, emulated his positive meditations.

Speaking to Aleksandra Kowalik, a Polish lawyer based in the UK, she explains how the law does not express the most mature approach to such a situation: «1st February 2018 remains a milestone in collapsing of Polish honour and painting drew by the previous generation which fought for the free, independent and open - minded country during WWII.

During the trial in February, lawyers for Waymo — the rebranded Google self - driving car project — painted a picture of a problem employee who clashed with his new boss over his slower, more cautious approach to self - driving cars.