Sentences with phrase «between drawing and painting»

The art historian Briony Fer has noted of the artist's practice: «It is striking that Martin does not draw a distinction between drawing and painting.

Hamish McLain (b. London, 1983) explores the intersection between drawing and painting in his practice, investigating how a graphical sensibility can interact within the world of abstraction.

Barbara Morrison Januszkiewicz is an American painter best known for her stylistic independence, specializing in a hybrid style that blurs the line between drawing and painting.

«Between Drawing and Painting: Color in the Graphic Works of James Ensor.»

The ongoing dialog between drawing and painting will also be addressed.

Now a new exhibition at Gagosian Gallery in Beverly Hills explores some of her later works, from the 1960s to the»80s (she passed away in 2011), works where the painter was exploring the division between drawing and painting.

Twombly is best known for blurring the line between drawing and painting.

Gorky's work during the 1930s was divided between drawing and painting.

Hovering in the cusp between the ordered and the random, between drawing and painting, between the conceptual and the densely material, Ingram's nail polish works are visually and intellectually captivating.

The second major theme addressed by the exhibition is the relationship between line and plane in this wide - ranging work, and thus also between drawing and painting — a topic that has not yet been covered in art - historical discussions of Albert Oehlen's oeuvre.

The muscularity of his lines echoes his experience as a graffiti artist, and he walks a path between drawing and painting pioneered by Cy Twombly.

Painting in 1950, this 18 - by -24-inch Sapolin enamel on paper reflects the artist's decision in the late 1940s to eliminate «color from his palette in order to focus on line, form and imagery» resulting in «the birth of a confident and energetic synthesis of abstraction, biomorphic forms and gestural «action painting»... The black and white abstractions also demonstrate the crucial relationship between drawing and painting in de Kooning's oeuvre.

Your figurative works in particular hover between drawing and painting.

The ambiguity between line and color, between drawing and painting.

Distinctions between drawing and painting, figuration and abstraction, internal and external worlds are erased in works that do not obey convention but invent their own pictorial logic.

In the spring of 2018 the Fondation de l'Hermitage is turning its attention to pastels, a fascinating medium halfway between drawing and painting.

This series of paintings undeniably deal in part with the dissolving and transitional nature of expressive forms in the visual and mental space that exists between drawing and painting in the extended mark making process.

That «threshold of appearance» marks a particular transitional awareness that is formally made evident by the opaque use of a singular soft lovat green paint application, something that adds to the sense of veiled transparency and in certain aspects also reinforces the interstitial space that often exists in Serebriakova's art between drawing and painting.

What Amy Sillman and a great number of drawing masters have in common is the proneness to create works which blur the line between drawing and painting.

The differences between drawing and painting resulted in very different outcomes of the same two - dimensional exploration.

In the catalog for his 1989 - 90 Frankenthaler retrospective at the Modern Art Museum of Fort Worth, he cited the color washes, the dialogue between drawing and painting, the seemingly raw, unfinished look, and the «general theme of place» as characteristic of her work.

It eradicates at once Cubism's layered edges and carefully centered compositions, Matta's fluorescent, chilly mannerism, the storybook literalism of many other Surrealists, and the whole distinction between drawing and paint.

This multimedia guide will point out connections between the drawings and paintings, allowing you to see Hopper's working process up close.

«The contrast between the drawings and paintings reveal Blatt's stylistic evolution as he adapts the vast trove of art history to the hyper - speed of the digital age by way of Ingres, Wateau and Haeckel.»

Not exact matches

In art and design there's a stronger emphasis on painting and drawing skills, in music a balance between performance and appreciation.

Drawing a comparison between this cycle and the last presidential election doesn't paint an accurate picture because super PAC spending was still in its infancy in 2012.

Britt now resides in a charming rental set in the quaint neighborhood of Normaltown in Athens, GA, where she splits her days between long painting sessions, meetings, drawing up statistics for her business, and spending time with her husband.

I enjoy NASCAR I also like to draw and paint and sew I am looking for young honest Caucasian guys between the ages of 21 to 45 and who can look past my chair and just to enjoy life with me

Condon also likes to punctuate scenes with shortcut symbolism by having characters wear t - shirts with various icons or having walls painted with various iconic figures in history (Che Guevara, Albert Einstein) as a way to draw parallels between Assange's story and the fight for information throughout history.

King and Riggs became lifelong friends in real life, and Battle Of The Sexes paints them as kindred spirits, drawing a clear distinction between Jack Kramer's patronizing sexism and Riggs» clownish, burlesque hustling of the zeitgeist.

With painting, drawing, singing, and dance classes dwindling in public schools, Sarson hopes the half - hour special opens up a dialogue between administrators, policymakers, parents, and teachers about the importance of such activities and the potential consequences of raising generations of children that aren't encouraged to appreciate the arts or think outside the box.

They might draw parallels between the innocent times depicted in Rockwells paintings and some of the TV shows they might know from that era — shows like Leave It to Beaver.

Pluses include the ability to use a story - starter template or write from scratch; the ability to write and draw pages that students can change according to their purposes; the ability to choose between clip art and paint pictures or original artwork; and the read - back feature.

Printmaking and painting combine to improve drawing skills, and photography enables students to explore topics, ideas and observations extensively, and provides are a rich source of discussion between students and teachers as ideas progress.

Publishing Trinie Dalton writes an appreciation of Dan Nadel's recently shuttered PictureBox: «It elevated comics and D.I.Y. projects into objects of high - design beauty, often through collaborations between zinesters, cartoonists, musicians, animators, and graphic designers eager for revolutionary assignments; or through showcasing artists who prove those camps are not mutually exclusive, like Ben Jones of Paper Rad (Pig Tales, B.J. and da Dogs, Men's Group: The Video, New Painting and Drawing).

The titles of many of his paintings — Separate but Equal, The First Black, The Problem with Assumptions, The Difference Between Then and Now, Satchmo's Answer to Truman, When Aaron Tied Ruth — while they may make sly references to the formalism of his paintings, also explicitly or implicitly draw on black history and refer to personal heroes such as Malcolm X and Martin Luther King, Jr., whose likenesses and sayings adorn a section of Little's studio.

I have spoken of the similarities between Bonnard's drawings and the paintings he made from them, but there are also striking differences, and these occurred at once in the initial charcoal drawing on the canvas.

You're welcome to focus on drawing or performance or ceramics or sculpture or painting or all of the above, so it's a highly mixed environment where disciplines are really butting up against one another and blurring between one another.

She can also draw on calligraphy to move between color and works on paper in black and white, as if taking stock of her own strengths — and as a reminder of how painting and drawing can still feed one another.

Tuck writes that: «the paintings in this show alternate between the quiet and the chaotic: landscapes that are represented like in comics and topographical maps — on a soft colored ground lines are drawn with paint, the figures are much smaller than life size and feel like quotes from movies... [Richter] draws seamlessly from our common cultures of art, entertainment, violence, music, etc., and plants these things in his paintings.»

Rose Sharp writes that Goodman's oeuvre «is a little bit difficult to sum up, perhaps, because over the course of this long and productive career, her creative output has vacillated between painting and drawing (with forays into three - dimensional constructions); smooth surfaces and chaotic buildup on canvas; and intimate small - scale works and jaw - dropping large paintings that grab your eye from across the room.

BP: I couldn't help but draw some parallels between your «Equilibrium» series and the new paintings, where the gazing balls operate similarly to the basketballs floating in tanks, and the Nike basketball posters are replaced by Old Master paintings.

Defying easy categorization, Amy Sillman's works on paper incorporate silkscreened, painted and drawn elements with imagery that vacillates between abstraction, figuration, traditional painting and comic illustration.

He goes on to define what he means by high and low art and as an example he draws the contrast between a poem by T. S. Eliot and a Tin Pan Alley song; or a painting by Georges Braque and a Saturday Evening Post cover; all being examples of contemporaneous culture.

The presentation considers not only how each painting conveys aspects of the subjects» identities as individuals and artists, but also how the selection and placement of sitters draws attention to the relationships and psychological connections between them.

1999 AC Project Room, New York, N.Y. Staff USA Gallery «Goldberg, Kamitaki, Beckett» New York, N.Y. Galerie Albrecht Minimal.Emotional» (Goldberg, Hofmann, Mills, Su) Munich, Germany Parsons School of Design Galleries «Drawing in The Present Tense» curated by Roger Shepherd and George Negroponte (catalogue) New York, N.Y. Zeitgeist «Monotypes» (Glenn Goldberg, Will Berry) Nashville, TN 1998 Hill Gallery Birmingham, MI 20th Century Art L.I.C., N.Y. 1997 20th Century Art L.I.C., N.Y. Galerie Albrecht Munich, Germany Rose Art Museum «Works From The Collection» Waltham, MA 1996 Knoedler & Co., New York, N.Y. Hill Gallery, Birmingham, MI 1995 Hill Gallery, Birmingham, MI The Work Space «Wacko» New York, N.Y. Galerie Albrecht «Gosewitz / Goldberg» Munich, Germany Edward Hopper House «Goldberg / Wiley» (videotape) Nyack, N.Y. 1994 Hill Gallery Birmingham, MI The Academy of Arts & Letters «46th Annual Academy Purchase Exhibition» New York, N.Y. Baxter Gallery of Art «Intimate Observation» curated by Jennifer Gross Portland, ME Castle Gallery «Toys / Art / Us» curated by Lori Friedman New Rochelle, N.Y. 1993 New York Studio School «Formative Past: Present Form» New York, N.Y. Galerie Albrecht «Baechler, Goldberg, Hofer, Roiter» Munich, Germany Robert Morrison Gallery «Goldberg, Humphrey, Koorland» New York, N.Y Castelli Gallery «Drawings: Foundation of Contemporary Performance Arts» New York, N.Y. 1992 Germans Van Eyck Gallery «Play Between Fear And Desire» curated by Jennifer Gross New York, N.Y. Rosenthal Fine Art «Glenn Goldberg - Josef Ramaseder» Chicago, IL Angles Gallery «Numbers» Santa Monica, CA David Beitzel Gallery «Paper Houses» New York, N.Y. Betsy Senior Gallery «Goldberg, Mangold, Row, T. Winters» New York, N.Y. Galerie Theuretzbacher «Against The Grain» (catalogue) Vienna, Austria 1991 Bellas Artes Gallery «Masterworks of Contemporary Painting, Sculpture and Drawing: The 1930's to the 1990's» Santa Fe, New Mexico Hill Gallery Birmingham, MI Museum of Contemporary Art «The Scott Spiegel Collection» Los Angeles, CA 1990 Wetterling Gallery (catalogue) Stockholm, Sweden Madison Art Center «Intimate Inventions / Gestural Abstractions» Madison, and George Negroponte (catalogue) New York, N.Y. Zeitgeist «Monotypes» (Glenn Goldberg, Will Berry) Nashville, TN 1998 Hill Gallery Birmingham, MI 20th Century Art L.I.C., N.Y. 1997 20th Century Art L.I.C., N.Y. Galerie Albrecht Munich, Germany Rose Art Museum «Works From The Collection» Waltham, MA 1996 Knoedler & Co., New York, N.Y. Hill Gallery, Birmingham, MI 1995 Hill Gallery, Birmingham, MI The Work Space «Wacko» New York, N.Y. Galerie Albrecht «Gosewitz / Goldberg» Munich, Germany Edward Hopper House «Goldberg / Wiley» (videotape) Nyack, N.Y. 1994 Hill Gallery Birmingham, MI The Academy of Arts & Letters «46th Annual Academy Purchase Exhibition» New York, N.Y. Baxter Gallery of Art «Intimate Observation» curated by Jennifer Gross Portland, ME Castle Gallery «Toys / Art / Us» curated by Lori Friedman New Rochelle, N.Y. 1993 New York Studio School «Formative Past: Present Form» New York, N.Y. Galerie Albrecht «Baechler, Goldberg, Hofer, Roiter» Munich, Germany Robert Morrison Gallery «Goldberg, Humphrey, Koorland» New York, N.Y Castelli Gallery «Drawings: Foundation of Contemporary Performance Arts» New York, N.Y. 1992 Germans Van Eyck Gallery «Play Between Fear And Desire» curated by Jennifer Gross New York, N.Y. Rosenthal Fine Art «Glenn Goldberg - Josef Ramaseder» Chicago, IL Angles Gallery «Numbers» Santa Monica, CA David Beitzel Gallery «Paper Houses» New York, N.Y. Betsy Senior Gallery «Goldberg, Mangold, Row, T. Winters» New York, N.Y. Galerie Theuretzbacher «Against The Grain» (catalogue) Vienna, Austria 1991 Bellas Artes Gallery «Masterworks of Contemporary Painting, Sculpture and Drawing: The 1930's to the 1990's» Santa Fe, New Mexico Hill Gallery Birmingham, MI Museum of Contemporary Art «The Scott Spiegel Collection» Los Angeles, CA 1990 Wetterling Gallery (catalogue) Stockholm, Sweden Madison Art Center «Intimate Inventions / Gestural Abstractions» Madison, And Desire» curated by Jennifer Gross New York, N.Y. Rosenthal Fine Art «Glenn Goldberg - Josef Ramaseder» Chicago, IL Angles Gallery «Numbers» Santa Monica, CA David Beitzel Gallery «Paper Houses» New York, N.Y. Betsy Senior Gallery «Goldberg, Mangold, Row, T. Winters» New York, N.Y. Galerie Theuretzbacher «Against The Grain» (catalogue) Vienna, Austria 1991 Bellas Artes Gallery «Masterworks of Contemporary Painting, Sculpture and Drawing: The 1930's to the 1990's» Santa Fe, New Mexico Hill Gallery Birmingham, MI Museum of Contemporary Art «The Scott Spiegel Collection» Los Angeles, CA 1990 Wetterling Gallery (catalogue) Stockholm, Sweden Madison Art Center «Intimate Inventions / Gestural Abstractions» Madison, and Drawing: The 1930's to the 1990's» Santa Fe, New Mexico Hill Gallery Birmingham, MI Museum of Contemporary Art «The Scott Spiegel Collection» Los Angeles, CA 1990 Wetterling Gallery (catalogue) Stockholm, Sweden Madison Art Center «Intimate Inventions / Gestural Abstractions» Madison, WI.

Spanning painting, photography, graphic work, drawing, sculpture, video, documents, and the critical responses generated, the joint exhibition explores the idea that there are no clean boundaries between art, culture, and geography, and deconstructs how such notions are formed and disputed.»

Consisting of nearly fifty paintings and drawings of mountains and mesas done between 1962 and 2013, this survey exhibition reveals another side of a painter best known for his impasto paintings of frosting - slathered cakes, thickly crusted pies and sticky pastries.

The work of Egyptian artist Basim Magdy (b. 1977, Egypt) spans from drawing to film, painting to slide installations that touch upon issues of science, war, and progress, hovering between a nostalgic look to the past and a disenchanted imagery of the future.

This he referred to as his «found drawing»; it created a fluidity between his painting, sculpture and printmaking: «I loved the idea that simply inking the surface of the plywood board would produce a web of white lines, if one only pressed a piece of paper against it.