Sentences with phrase «as an abstract painting on»

Not exact matches

The front features a pastel abstract painting of sorts that is particularly lovely when paired in contrast against the more bold and graphic design of the bottoms, as modeled on the webpage.

As the adventurous Kurt, who casually shows Alex his abstract paintings of sphincters, Jason Schwartzman shines when it comes to seducing and keeping one on his or her toes.

De Stijl as modern art movement had a huge impact, mainly on architecture, abstract painting and modern design.

There are important works in the permanent collection (almost always on view) by Mondrian, Chagall, Picasso, and Warhol, as well as a large number of abstract paintings by Makevich, which are well - worth seeing if you have an interest in Russian avant - garde.

In addition to her widely popular Infinity Rooms, such as LOVE IS CALLING, Kusama creates vibrant paintings, works on paper, and sculpture with abstract imagery.

And Lewis's «Alabama II» (1969) deploys a small, barely visible line of marching stick figures on a searing expanse of sunset pink, hinting at the struggle for civil rights while still insisting on being read as an abstract painting.

This exhibition focuses on her early abstract metal sculptures and paintings as a starting point for future examination of a long and continuously inventive career.

The essay «Painting and Countenance» is, as is much of my writing on painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this Painting and Countenance» is, as is much of my writing on painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting, especially abstract painting in this painting in this country.

In her recent show with the Beijing satellite gallery of New York's Chambers Fine Art, she has concentrated on what she calls landscape paintings, which don't present landscapes so much as a kind of floating abstract world reminiscent of the work of the Chilean modernist, Roberto Matta, in their atmospheric effect.

Influenced by feminism, quilt design, and non-Western as well as Western art, Ms. Valdez combines paint, fabric, and embroidery on canvas to yield abstract forms with undeniable relation to the human body.

As a result, her paintings, though very abstract, sometimes take on the expansiveness of a landscape.

NEW YORK — Opening June 26, paintings by Philip Hanson and Rebecca Shore will be on view at David Nolan Gallery as part of a group exhibition of abstract paintings.

The subject matter may not be as compelling as Katz's earlier figurative work, but these paintings, on view through July 7, aren't about garden design or abstract composition.

My primary focus as of late has been on textured impasto paintings and contemporary landscape paintings such as: tree paintings, modern minimalist art, nightscape paintings, contemporary landscape paintings, storm paintings, modern abstract art, impressionist art and mid century modern art.

Housed in the Empire State Plaza's underground Concourse gallery, this sprawling bunker of generic hard - edged abstract painting and minimal sculpture was regarded by students and faculty alike as something of an embarrassment of riches, the last vestiges of overblown Greenbergian dictates on advanced art.

Unlike his contemporaries, such as Mark Rothko and Barnett Newman whose art expressed an urge to transcendence, Kline was focused on pure abstract forms and gesture itself, deprived of any symbolic character or «painting experience».

The colour fields are inextricably linked to her black and white canvases, the subjects of the latter — sparingly painted so as to retain the appearance of the canvas weave — resulting from internet searches that occur to her whilst working on the abstracts.

I think the thought depends on being at a greater distance from the early 20th century, that while Reinhardt and everyone else could not imagine abstraction (whatever he may have said to the contrary) other than as a struggle to find what an abstract as opposed to a representational painting really might be and do, is no longer the case.

Continuing the Warholian reference, on show will be a series of large scale unique silkscreened portraits of the artist as Che Guevara, Joseph Beuys, Elvis Presley amongst others, as well as works based on Warhol's urine oxidation paintings, abstract works made by pissing on copper metallic painted canvas Turk takes a Gestalt approach to cliché and iconic imagery subverting our sense of what we think we are seeing.

Hopefully this burst of intimately scaled creativity by Joanne Greenbaum — as 1612, her first iteration of small - size abstract paintings at D'Amelio Terras (on exhibit through November 12th)-- is just the beginning.

Amongst the younger, so - called Post-Conceptual artists, we also find works that can be experienced as comments on the abstract painting's position in recent art history.

It may mean something that almost all the abstract painting in the show is by women, from Ulrike Müller's small geometric enamel - on - steel pictures, as precious as antique cameos, to Nancy Brooks Brody's black - and - white grids radiant with half - hidden color.

In the early fifties, as he was embarking on a major phase of abstract painting, Guston explored the power of simple lines in drawings reminiscent of exercises in calligraphy.

I may yet remember Jason Gringler's shattered mirrors as painting from Stefan Röpke in Cologne, Sheila Gallagher's painting in plastic from Dodge, Rachel Beach's abstract sculpture of reclaimed wood from Blackston (like Dodge, on the Lower East Side), videos by Araya Rasdjarmrearnsook of art students from Tyler Rollins, or Patrick Jacobs's peepholes onto constructed other worlds from The Pool NYC.

That exhibition thematized the relationship between Liu's paintings and his three - dimensional sculptural forms via explicit formal echoes: Black - and - white geometric paintings were adroitly paired with rectilinear pseudotopiary sculptures in which bands of foliage were interspersed with horizontal neon lights, while the oscillating static playing on stacked TV sets chimed with the abstract canvases as well.

Initially joining the weaving workshop, being one of the few options open to women students, Albers took on textiles in just the same way as she might have taken on painting, creating brilliantly patterned abstract wall - hangings alongside more functional textile designs.

While his work bears similarities to that of American abstract expressionist painters such as Mark Rothko, Jules Olitski and Barnett Newman, Hoyland was keen to avoid what he called the «cul - de-sac» of Rothko's formalism and the erasure of all self and subject matter in painting as championed by the American critic Clement Greenberg.1 The paintings on show here exhibit Hoyland's equal emphasis on emotion, human scale, the visibility of the art - making process and the conception of a painting as the product of an individual and a time.

Every single one has extraordinary color: the variety and brightness each piece carries, detail: the amount of work that is put into every aspect of each painting that make it look so realistic and abstract, lighting: the bright light shining throughout each image giving each piece an intriguing positive / enthusiastic energy, shading: the detailed shadings on each face giving them that 3 - dimensional look, definition: the quality of the defined lines that are portrayed through every painting (piece) and every small detail in the painting (like the faces and body parts) line: the complex and balanced lining that is seen in both, the abstract and realistic images in these works, texture: somewhat giving off an appealing texture to the works by the dimensions, as if you can reach out and grab the images, dimension: the realistic look that each women has (3 - dimensional), spacing: the space is used wisely in each work, very nicely spread out adding to its originality, touch: the clear and powerful finishing touch that every piece has, and the most visible that is seen in every piece here, is simply life.

Caivano's works incorporate an uncompromising yet individual approach to the tradition of abstract painting, drawing as much on unique perceptions of colour, space, texture, volume and light as on art history.

He will pay particular attention to how this process played into the creation of his most recent project, A Trilogy of Burials, a series of abstract paintings, photographs, and multimedia images that are intended as a meditation on how different cultures have addressed mortality, a subject we often have a hard time discussing in Western society.

At one point as I tried to get more information about a floor sculpture that resampled broken glass, and a set of blue paintings with some subtle white abstract elements on them, the gallery director couldn't even tell me about the work.

Throughout this process a distinct distillation of choices developed for each artist that is wide - ranging but particular: both figurative and abstract, sculptures and some works on paper have been selected in addition to paintings, and historical as well as contemporary works, are juxtaposed.

In 1974, in reference to a New York gallery show by Judy Rifka, Jeremy Gilbert - Rolfe wrote that the artist addressed «the question most crucial to painting in general at the present time: the question as to how far the — currently compromised — abstract «depth» of pictorial space can be newly considered — retrieved — through attention to the material basis of the conventions on which that experience of «depth» relies.»

Architectural subjects, including paintings of the weathered barns and buildings on the Stieglitz property that blend the descriptive and the abstract, emerged as a theme, as did a number of panoramic landscape paintings and bold, color ‑ filled abstractions that often visually related to the subjects she was working on at the time.

While abstract expressionists such as Jackson Pollock, Franz Kline and Willem de Kooning had long been outspoken in their view of a painting as an arena within which to come to terms with the act of creation, earlier critics sympathetic to their cause, like Clement Greenberg, focused on their works» «objectness.»

Back in the 1990s, when many in the art world had turned their back on painting as a «dead» medium, Amy Sillman was one of the leaders of an underground revival, combining cartoonish imagery, a draughtsmanlike line, and jazzy color combinations to give new life to the legacy of abstract expressionism.

It was also in New York that Thompson quickly arrived at his mature style, taking Dody Müller's advice to heart by reworking the compositions of European Masters such as Piero della Francesca, Nicolas Poussin, and Jacopo Tintoretto into simplified, abstracted forms painted in threatening and seductive tones that were hot and violent or deep and dark — seizing on the dynamism of these classical scenes and often transforming them into contemporary allegorical nightmares.

There the paint remains, somewhere between the figurative and abstract, or, as the exhibition catalogue aptly puts it, «on the brink of formal composition and its collapse.»

His acrylic paintings on wood panels are not large and are described by the artist as «abstract impressionism».

Flush with an emerging confidence in their medium, photographers such as Harry Callahan and Aaron Siskind, wrote Hilton, found ways to turn the lens on these complexities: «The kind of campaign that was once waged, and waged successfully, for abstract painting is now being waged for «abstract» photography.»

Among the second group of abstract paintings at Firestone are works such as «Thunderbird» (1970), where a geometric cluster of blue lines, each about the width of standard masking tape, floats on a vibrant, flat red field.

Meredeth Turshen creates striking oil paintings on paper that can be interpreted as summery landscapes or read as abstract works.

Alongside the exhibition, pioneering works by Gerhard Richter from the collection of the Museum Ludwig are being presented, including icons such as Ema (Nude on a Staircase) from 1966, 48 Portraits of German intellectual figures from 1971/72, the abstract painting War from 1981, and the glass work 11 Panes from 2003, among others.

The works on view at the exhibition evokes conversations between abstract forms and a variety of human or animal protagonists, as locations strike up to have a conversation with the people, recognizable images chat with paint smears while looping gestures address spectators within his imageries.

Dr. Selz, author of 15 books on 20th century art, wrote in 2010: «Arthur Dworin's paintings... abstract as they are,... bring a new sense of visual order to organic forms of nature.»

Always to be counted on for pushing the perimeters of her intensely optical abstract paintings, this show finds Ferris, now 41, experimenting, rethinking, slowing down, mixing marble dust into her oil paint, laying down stenciled polygonal shapes, wiping out areas of canvas, leaving severe spray - painted black lines as structure.

There is a sense of estrangement in both paintings (as there is in much of the work in this room), with their subtle departures from the conventions of abstract painting — Thompson's perfect geometry drenched in oil bleeds; Martin's imperfect geometry quavering on a flimsy armature — stirring a shift in expectations and the anxieties that accompany it: a locus of confusion, hostility, and acceptance that the art critic and historian Dore Ashton called «the unknown shore.»

* Known for the free eroticism of her small, representational drawings and paintings, the impact of Rama's large rubber - on - canvas abstract collages from 1970 and 1971 is just as great.

As the initial trio gradually shared then delegated the direction of the space to new members — most recently to Caroline Soyez - Petithomme, who codirected the space with Jill Gasparina from 2008, before becoming the sole director in 2013 — the aesthetic choices have slightly shifted from an emphasis on site - specific, installation - based works to more formalist works, with an inclination towards abstract painting and digital art.

It focuses on the radical change of direction in the artist's career between 1930 — 1969, 50 key paintings and sculptural reliefs show how Pasmore reinvented himself as one of Britain's foremost exponents of British abstract art, having previously been known as one of its leading figurative artists.