Sentences with phrase «between figure and ground»

What I am after is a dynamic spatial relationship between figure and ground, or sometimes to charge the picture plane with impacted energy so as to make it an undeniable, absolutely compelling image.

Brodie and the Flemish painter Eugene Leroy share some of the same productive anxieties about the porous relationship between figure and ground.

In many of the compositions of this genre, the flat white background becomes a determining part of the whole, creating ambiguity and struggle between figure and ground, an almost interchangeable gestalt.

Though they appear so controlled, paintings like Bilte pioneer their own spatial relationship between figure and ground; colors and forms are just beyond familiarity and some electric charge — like the three flashes of orange brightness here — animates each geometric composition.

In particular, the relationship between the definite line of the tape and the spectral expanse of the spray creates the ambiguity between figure and ground, and keeps the depth of field unresolved.

Revisiting the dichotomies at the heart of modernist painting, Furnas manipulates the boundaries between figure and ground, form and formlessness, and figuration and abstraction, working in an idiosyncratic style that falls somewhere between Carroll Durham's and Kai Althoff s....

For his latest series, he pares down his forms and used strong color contrasts to energize the tension between figure and ground.

In both, the works» structured compositions produce tension between figure and ground, as tightly concentric forms alternately advance and recede.

By disrupting the pattern through shifts in color or the deployment of similar but subtly differing forms, Taaffe activates the visual field to the point that one must keep making distinctions, such as undoing the bond between figure and ground.

Also exploring the relations between figure and ground, illusion and materiality, Leslie Wayne's new series of broken glass paintings and breakthrough windows reference the simultaneity of violence and generative potential of tearing down cultural barriers.

Both artists, extreme in their use of vivid colors, excel at creating paintings with a sense of play between defined and indeterminate forms, an ambivalence between figure and ground, and a resistance to interpretation.

The show and its catalogue, with essays by Kamps, Roberta Bernstein, Sarah Rich, and Dave Hickey, focus on a group of fourteen large - scale paintings as well as source materials from 1958 to 1965, a period when Kelly further blurred the line between figure and ground and

Following a visit to Berlin in 1970, King began his Berlin series — large - scale colour field works in which a narrow peripheral band creates a tension between figure and ground, in which some commentators have seen references to the Berlin Wall and a city divided.

The works of Gardner and Maltese have clear affinities — their separate practices arise from a pictorial alchemy where, while maintaining mimetic characteristics of modernism, surrealism and troupes of abstraction, the distinction between figure and ground or environment has been significantly collapsed, favoring more flattened volumes and depths of field.

The artists in this exhibition thematize this negotiation (between figure and ground, so to speak) through incessant material investigation, play and inquiry.

She experimented with equalizing large colored shapes, flipping and negating the relationship between figure and ground.

27 Whitten's collages from the 1980s deny a separation between figure and ground.

22 Here, as in the case of his Ralph Ellison homage, Black Monolith II, Whitten's effort to represent visual elements of his experience comes in the form of a stark separation between figure and ground.

The finely detailed, hand - painted miniature patterns in gouache an unusual visual register to the transparent watercolors, layering silhouetted bodies in sinewy vines and other organic shapes, and confusing traditional distinctions between figure and ground.

Using a limited range of colors and basic geometric shapes to heighten the interplay between figure and ground, she simultaneously imbeds the forms into and places them against a white field.

Kingston Gallery, «Ground Cover: Contemporary Abstraction between Figure and Ground,» Boston, MA.

These paintings are simultaneously stripped down and filled up, full of surprising interplay between figure and ground, and enlivened by a brightly nuanced and carefully considered -LSB-...]

Deconstructing the relationship between figure and ground, Richter embraces the contingency of his medium, enjoying the chance effects of the spontaneous yet confident application of paint.

The fluid movement between abstract, hand - applied oil and layered, photo - based silkscreens causes one to optically weave in and out of the compositional picture planes, thus drawing one's attention to the shifting relationship between figure and ground.

The gaps between the stripes are much more definite than in the Black Paintings, since Mr. Stella outlined them in pencil, but a certain lack of neatness persists, especially when the stripes turn corners, contributing to ebullient play between figure and ground.

This combination and juxtaposition of materials blurs the usual distinctions between figure and ground, creating a tension between the mass - produced and handcrafted elements that is further heightened by the contrast of the cold, flat stripe of faded metallic paint across the painting's lower edge and the fleshy white of the oil paint.

As the artist experienced the motion of the figure and of his own strokes the distinction between figure and ground diminished until woman was no longer differentiated from landscape.

They play with the relationship between figure and ground, positive and negative space, fixity and movement.

The first iteration in a three - part exhibition series, Expanding Narratives uses the formal relationship between the figure and the ground in Western art history as a conceptual springboard into discussions around visual representation, the museum space, and the role of the Smart Museum's collection in fostering the exchange of diverse perspectives.

Adjacent to the main space, a section of the exhibition explores how nineteenth - century French printmaker Félix Buhot dissolved classic distinctions between figure and ground in ways that challenge the limits of the etching medium.

Colors and surfaces vary in terms of density and reflectivity, and areas of the compositions frequently shift between positive and negative space, or between figure and ground.

In some work there is a direct representation of the ground or landscape, other work intellectually presents a more abstract tension between figure and ground.

In some images Woodman quite literally becomes one with her surroundings, with the contours of her form blurred by movement, or blending into the background, wallpaper or floor, revealing the lack of distinction of both - between figure and ground, self and world.

As part of Expanding Narratives, this presentation explores how printmaker Félix Buhot dissolved classic distinctions between figure and ground in ways that challenge the limits of the etching medium.

Expanding Narratives uses the formal relationship between the figure and the ground in art history as a conceptual springboard into discussions around visual representation, the museum space, and the role of the Smart Museum's collection in fostering the exchange of diverse perspectives.

The extraordinary closeness of tone between figure and ground endows her marks with a ghostly presence: they seem to have been coaxed into existence or, conversely, to be on the verge of disappearing.

Gueorguieva uses line and color to intensify spatial ambiguities, undermining the relationship between figure and ground.

Positions, for which the exhibition is titled, explores the intersection between figure and ground, the logic of the grid, and the repetition and accumulation of ungrounded figures.

But all of these pictures have in common the allover surface plane held in tension, between figure and ground, as an interwoven field.

Interwoven, October 4 - 29, 2017 The Conscious Web, February 1 - 26, 2017 (Catalog) Relay, January 4 - 29, 2017 I Know Just What You're Saying, January 6 - 31, 2016 Compression, September 30 - November 1, 2015 Ground Cover: Contemporary Abstraction between Figure and Ground, curated by William Kaizen, September 3 - 28, 2014 Zero Point Field, July 2 - 27, 2014 Gifted, September 4 - 29, 2013 All of It, January 30 - February 24, 2013

In 1969, Krushenick moved away from soft abstractions towards bold colors and graphic lines, maintaining a play between figure and ground.

His vibrant paintings hinge on a tension between figure and ground; flatness and spatiality; edge and interior; geometry and disorder; with influences as varied as Henri Matisse, Edward Hicks, and Henri Rousseau.

Think of an Ellsworth Kelly: an abstract consideration of the relationship between figure and ground; a conscious questioning of the conditions that underlie perception; an exploration of the relationship of painting and wall, sculpture and space, viewer and work.

Frank identifies Willem de Kooning's Excavation, 1950 (which hangs at the Art Institute of Chicago in Wolniak's hometown) as an antecedent, «marking a passage between figure and ground, image and abstraction, form and formlessness.

Kelly's shaped canvases may concern themselves with pictorial issues — say, the relationship between figure and ground — but they do so in a way that denies painting's metaphorical capabilities.

The resulting interplay between colors confuses the conventional relationship between figure and ground, a technique adapted from the Impressionists that also channels de Kooning.

Throughout the 1950s Accardi reduced her palette to black and white to explore the relationship between figure and ground.

In this recorded sound performance, the artist plays a trumpet — one type of musical horn — to imitate car - related sounds; the performance comprises a series of perceptual shifts between figure and ground within an automotive soundscape — keynote or ground sounds (the hum of a motor) are speckled with soundmarks (the sound of screeching tires, the sound of a transmission shifting gears) and, in some moments within the composition, drift entirely into signals (the sound of a siren, the sound of an engine blowing out).

Bite has a trio of irregular white triangles that zig zag horizontally across the centre not unlike clothes on a washing line or bunting, their rhythm echoed by other more or less triangular shapes in green above and below, between them creating eccentric negative shapes that push forward, shifting alternately between figure and ground.

The finely detailed, hand - painted miniature patterns in gouache add an unusual visual register to the transparent watercolors, layering silhouetted bodies in sinewy vines and other organic shapes, and confusing traditional distinctions between figure and ground.