Sentences with phrase «become elements of his compositions»

Not exact matches

Throughout Resonating, viewers will note Green's various uses of a fan shape: in early works such as For All & None (1978), the fan acts as an essential symbol, suggestive of deeper spiritual meaning; in Taxes (1993), one of her later black and white paintings, the fan shape becomes a central formal element that unifies the composition; in She Dreams (1996), the fan shapes create a complex formal variation which co-exists with other images.

Especially in Pettibon's later work, where the text tends to be longer, the text part becomes an equal graphic element in the composition, thus creating a sense of urgency on behalf of the viewer, to produce meaning out of contradictory elements.

Richter became inspired by the American composer, John Cage, who employed elements of chance in his compositions.

This exploration is one of the key elements in the work of many very established painters, such as Robert Ryman, where for him not just the paint application comes into play but his choice of methods for attaching the painting to the wall or the actual date and signature on the work become a pivotal piece of the composition.

In a way, as critic Charles Darwent has written, Ofili «seems to be reliving 20th - century modernism backwards,» cycling through clear formal periods wherein his compositions have become more stripped - down, foregoing the dense layering and collaged elements of earlier works, and often focusing on a limited color palette — including the red, green, and black of Marcus Garvey's pan-African flag in the series of paintings he began in 2000 and showed in concert in an immersive environment at the 2003 Venice Biennale's British Pavilion.

Within these assemblages however the order is clarified as the viewer becomes aware of how each element combines to create and generate an audio composition.

When these conceptual artists presented text within the context of an artwork, they were forcing their audiences to become a part of the artwork by imploring them to read the composition, almost like a script that adds an element of the theatrical.

Color now carried independent content, along with basic geometric forms, which became free from all iconographic reference and are meaningfully valid as elements of the pictorial composition.

The viewer and his immediate surroundings are momentarily reflected on the lacquered stainless steel, becoming an integral element of the composition itself and defying preconceived notions of artwork as an inanimate object.

As expressed in the press release, in Rough's paintings visual elements become a chromatic system of pure forms, where colours, lines and shapes are modulated as visual «chords» in a musical composition, resulting in a dynamic and precise structure, where nothing is arbitrary and everything is in the right place.

But polymerization has become a principle of composition, with the invention of flexible and artificial alloys of heterogeneous elements — as can be seen in the videos of Laura Prouvost, Ian Cheng, Rachel Rose or Camille Henrot, the installations of Mika Rottenberg, Nathaniel Mellors and Charles Avery, the paintings of Roberto Cabot or Tala Madani.

From the 1960s on a much freer approach to format became evident in some of the work of artists such as Frank Stella and Ellsworth Kelly and the shape of the canvas became an important element in the composition of the work.

When my livelihood depended on the massively saturated art market, the «sale» became an overwhelming element in the composition of the piece and counterproductive to the integrity of what I should have been doing.