Sentences with phrase «approaches to painting from»

Representing distinct and varied approaches to painting from abstraction to realism, these artists» works will be set in counterpoint to modernist paintings chosen by Dunham from the Addison's permanent collection.

Influenced equally by music, storytelling, and individual history, McArthur Binion has described his approach to painting from the position of a «rural Modernist» and one through which he «abridges the lyricism of colour with a Black rural sensibility.»

Not exact matches

A dozen years ago, some customers approached him with an idea: They required highly automated paint shops in their plants, but the components — booths, ovens, robotic sprayers, conveyers, etc. — came from various suppliers, and were cumbersome to assemble.

This approach works across the board with just about any protein, from chicken wings to pork ribs to salmon, but we like it best on the grill, where painting, flipping, and painting again is second nature.

But, given the disappointingly uneven picture of available professional development resources that the report paints, scientists who want to emerge from their graduate school or postdoc years ready to find and take advantage of nonacademic career opportunities must adopt an entrepreneurial approach to their own professional development and take the fullest advantage of all the chances they get to learn about the world of off - campus work.

Ubud has been the cultural focus of Bali for decades and is the place to visit if you are searching for original carvings, sculptures, artifacts, and paintings from across the Indonesian archipelago as well as Bali itself.Villa Alamanda lies to the east of Ubud an approximate ten minutes away and as welcome guests approach the villas they pass through a traditional carving village known to most as Tengkulak.

Call Of Duty: Infinite Warfare (PS4, Xbox One, PC) sets its conflict in the future, safe in the knowledge that no memories are being trampled in its more gung - ho approach, which sees your hero fighting his way up from Earth to its planetary colonies in pursuit of rebels who are painted as utterly unsympathetic and totally evil.

But with «St. Sebastian,» a blank - slate approach was unexpectedly easy, primarily because, for all the image's familiarity, I realized how different the painting looked, or rather felt, in the flesh... It's the painting's endearingly strange comedy — especially the bottom half of the body, which seems to flap away (and bring to mind the flagellation of St. Bartholomew)-- that rescues it from post-adolescent self - pity and actually, in an odd way, ennobles it, as if invested with an amused stoicism.»

Famed for painting over iconic and medical packaging, from McDonald's to Dior, Australian artist Ben Frost's work forces us to look at our modern capitalist society, and our attitudes towards branding, advertisements and blasé approach to medications.

Kreiger writes: «While at first glance this show seems to be a simple set of paintings exploring different approaches to the expression of the human form from the 1960s to the present, the way this exhibit has been curated creates endless curiosities and surprises.

A wide variety of approaches to painting are encouraged for submission, including a range of painting types, from the most academic to the most experimental, but all with some relevance to the artists» honest understanding of the practice of «painting.»

As disparate as the artistic approaches appear to be in Rothko to Richter, what united the painters throughout the period was a commitment to process, as artists explored a range of brushwork techniques, from audaciously gestural ribbons of built - up paint to vibrating fields and soft washes of color to hard - edged geometries.

His work evolves from his deep interest and knowledge of Sesshu Toyo, a 15th Century Japanese artist and Zen monk, whose approach to ink painting introduced the concept of «emptiness» or the «marvelous void» into Japanese painting.

Tracing the evolution of Green's work from monochromatic canvases of the early 1970s to recent explorations of black and white, the exhibition includes 18 paintings and 52 works on paper, including works borrowed from the Solomon R. Guggenheim Museum and the Corcoran Gallery of Art in Washington, D.C. Resonating emphasizes Green's complex understanding of painting that is based on a combination of Aboriginal and Modern Western approaches.

While Four for the Talking Cure was cordoned off from would - be recliners in the exhibition, the idea of psychoanalyzing painting — not merely taking a Freudian approach to regarding an artwork but actually treating painting like a patient — was a seductive one, suggesting all of painting's crises were neuroses, and could be disbanded with some time on a therapist's couch.

It also brought a new, open airiness to the painted surface and was credited with releasing color from the gestural approach and romantic rhetoric of Abstract Expressionism.

As a student in the mid to late 1920s Rothko was influenced by Max Weber, Arshile Gorky, and Milton Avery, from whom he learned very different ways of approaching painting.

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.

Smaller, juicier paintings such as «Goldenrods» and «Field of Wildflowers» see Katz using motifs from nature to experiment with the «all - over» approach to composition, whereby no one part of the composition is allowed to prevail over the others.

This exhibition brings together paintings and works on paper by Jane Freilicher and Jane Wilson — two notable figures in American art who emerged from the pursuit of rigorous abstraction to develop highly individual and beautifully compelling approaches to representation, fundamentally reinventing traditional definitions of landscape and still life painting.

Active in the Post-Sense Sensation events from the late 1990s, his work has explored a wide range of mediums from painting to film, installation and sculpture as he gradually shaped a unique artistic approach that has garnered increasing acclaim across the world.

Therefore, there's little deviation from the initial impetus, which is profoundly different to how I approach painting.

The energy that imbues these pieces is infectious, and necessarily so: the viewer participates in the work by physically moving around the gallery: circling the glass sculptures to watch them sparkle from all angles; gazing up and peering down; approaching the paintings and inspecting them from sniffing distance, to reveal the secret symbols that construct their artful chaos.

In NY Times Holland Cotter compared Martin to Ad Reinhardt, another artist who approached painting from a philosophical standpoint:

Setting it apart from Abstract Expressionism and Action Painting of the 1940s and 1950s is the approach to composition and drama.

As Pollock's work increased in scale, Krasner devised a different approach to freeing herself from easel painting.

Ed Moses is a well - established artist known for his grid drawings from the 1970s and his innovative approach to painting.

All were unique and distinctly reflecting the wide variety of artistic approaches of the 21stcentury from paintings on canvas & board (Kawaguchi, Sudran, & Dorsey) to the mixed media work of Mielenhausen & Dworin, the installation by Kubo that filled gallery walls, to the photographs of Moody, Smith and Gaynor and the colored pencil drawings of Borkow.

None appear more contemporary in their approach than Kogelnik, whose paintings and drawings from 1964 to ’70 were the subject of this exhibition.

In the new work Ford begins to loosen up, combining a more gestural painting approach and larger scale shifts with the tighter, more illustrative technique from previous outings.

These pieces might seem like nothing new - sculptors have been working in 3D forever - but because they developed from his work in painting, they reflect a new approach to sculpture.

Associated in the 1960s with Nouveau Réalisme alongside Arman, Christo, Yves Klein and Jean Tinguely and inspired by the designs of Gaudi, Saint Phalle is remarkable for her multi-media approach, from large - scale painted sculptures to enamelled jewellery.

«By the early 1980s, Brodsky's approach involved an exploration of flattened pictorial space built up from layers of pigment that create an overall surface pattern of light and shade, the whole animated by energetic ribbons of color that dance across the canvas as a record of the artist's spontaneous gesture, attesting to his engagement with the process of painting itself,» wrote Chalif.

Ranging from large - scale painting to site - specific installation, these commissions spotlight trailblazing artists at different stages of their careers, and reflect the museum's continued commitment to providing an international platform for a wide range of contemporary artists with innovative and experimental approaches to their practices.

Her artistic practice and pedagogical bent — she is an esteemed professor of painting at the School of the Art Institute of Chicago, a position from which she weilds considerable influence in the city's art scene — has shaped her presentation on the fourth floor of the Whitney, which she has organized as a sort of visual curriculum on various artistic processes and approaches to materials.

By the mid-1950s, Calderara began to move away from figurative painting to embrace a more geometric approach, radically reducing both the scale and the compositional elements of his paintings through use of simple forms and flat blocks of nebulous and subtle colour.

As a student in 1949 at the Art Students League of New York, for example, he laid paper on the floor of the building's entrance to capture the footprints of those entering and exiting.10 The creation of receptive surfaces on which to record, collect, or index the direct imprint of elements from the real world is especially central to the artist's pre-1955 works.11 Leo Steinberg's celebrated 1972 article «Reflections on the State of Criticism» isolated this particular approach to surface as collection point as the singular contribution of Rauschenberg's works of the early 1950s, one which galvanized a new position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue of a visual experience of nature but of operational processes.»

On view in the Contemporary Wing from June 29 — November 2, 2014, Front Room: Seth Adelsberger features nearly a dozen works produced over the past five years that demonstrate the artist's innovative approaches to painting.

In between, we discover paintings on canvas and ink drawings of larger - than - life heads, full - length nudes, Ms. Dumas's daughter as a young child, raunchy strippers, political commentary, and more, from early experiments with a variety of conceptually based approaches to an idiosyncratic, continuing series of portraits of «Great Men.»

While the haptic involvement in painting may carry through from one artist to another, each admits vastly different approaches in style and execution.

Han recently relocated from Chicago to Brooklyn, where he is working on drawings and paintings that relate to his family's history, but taking a nuanced, more distanced approach.

«Iconic motifs from sculpture, architecture, painting and design combine to disrupt conventional approaches to reading an art object.»

My approach is highly physical, regularly moving the works from the floor to the wall and back, and using my bare hands and feet to apply different thicknesses of paint.

It was a conscious effort to find his own new approach to painting: «Since I had just come back from Canada and was again searching for a subject, I started making these quite homely paintings, paintings of quite modest subjects».

I wanted to create an experience for the viewer, removing myself as an artist from the traditional and orthodox approaches to landscape painting.

Golub (Chicago, 1922 — New York, 2004), since his formative years in Chicago, developed a personal approach to figurative painting, detaching himself from the dominant styles of New York School's Action Painting and Abstract Exprespainting, detaching himself from the dominant styles of New York School's Action Painting and Abstract ExpresPainting and Abstract Expressionism.

I have recollected various motifs from previous work; I have rediscovered the power of non conformity in the approach to what painting ought to be.

Mira Schendel (1919 - 1988), a seminal figure in the Latin American modern art scene who formed her own approach to abstraction with influences from quantum physics to Zen Buddhism, attempted to reconcile the practices of painting and sculpture with these series.

Hard Edge Painting emerged as more than a reaction against Abstract Expressionism; it reflected a renewed interest in color isolated from emotion using geometric abstraction and a new approach to compositional unity within a single plane.

Instead, the artist has devised a non-traditional approach, choosing to pour thinned paint from the top of her canvases while they're vertically mounted on the wall.