Often described as an «intellectual expressionist», Marlene Dumas blurs the boundaries
between painting and drawing.
Hauser's paintings live in the borderland
between painting and drawing, analog and digital, abstraction and representation, real and mythical.
Morgan moves
between painting and drawing, using form, line, repetition and systems to create multi-faceted abstractions.
Helnwein's work, can be described as a photorealistic hybrid
between painting and drawing, with its blend of the figurative and ambivalent, radiating a sacrosanct beauty that is magnetic.
Deviating from the tradition of distinguishing
between painting and drawing by medium, Kim defines a «painting» as work that is self - contained and results in a finished product whereas a «drawing» is characterized by its openness that is embracive of an ongoing process.
In particular, the sense of the artist's race against time is made clear through the exciting dialogue that emerges here
between painting and drawing.
Twombly's compositions blur the relationship
between painting and drawing and emphasise the action of mark making.
Depicting common objects and architectural features and occupying a space
between painting and drawing, these impressive works seem to withhold as much as they reveal.
McVeigh's works in «Elegy to Nature,» which she views as symbolic human landscapes, sit
between painting and drawing, abstraction and figuration.
These works undermine the distinction
between painting and drawing, having the lightness of touch and deceptive simplicity of his drawing.
Set aside in their own room, hung on white walls and carefully lit, the paintings walk the lines
between painting and drawing, and representation and abstraction.
Known for works across multiple media that blur the thresholds
between painting and drawing, Isabelle Fein is formally trained in film and drawing from the Hochschule für Gestaltung in Offenbach, Germany and the Städelschule Frankfurt am Main, and has been featured in solo shows at Galerie Parisa Kind, Frankfurt and Fort Gansevoort Gallery, New York.
These three exciting artists blur the boundaries
between painting and drawing.
Emerging on the art scene with fellow New York artists such as Robert Rauschenberg and Jasper Johns, Twombly kept to a genre all his own, blurring the line
between painting and drawing, and incorporating words, scribbles, and a childlike sensibility that revealed mediation and melancholy.
The work of the American artist Carroll Dunham can be characterized as exploratory, fluctuating between figuration and abstraction,
between painting and drawing, shaped with tendencies toward caricature.
Pollock, Krasner, de Kooning, and others obliterated the very distinction
between painting and drawing — or among the flatness and symmetry of canvas, the shallow space of its painted surface, and ideal, infinite space of vision and representation.
Oatey makes each drawing using a carbon transfer paper that acts as a bridge
between the painting and drawing.
Her «thing» 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.
Then, too, if Abstract Expressionism blurs the boundary
between painting and drawing, why not look first at drawing?
Spanning acrylic and oil paintings, gouache and paper collages, patchworks made from fabrics and paint, silkscreens, and colored pencil drawings, this show brings together an expansive group of two - dimensional works to explore the relationship
between painting and drawing.
With the ballpoint pen, Gatti blurs the lines
between painting and drawing, while renegotiating relationships between space, line, form and void.
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.
When asked recently about the relationship
between his paintings and his drawings, New York artist Jake Berthot explained that for him the act of drawing requires a discipline and focus different from that of painting.
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.»
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.
Moving seamlessly
between painting,
drawing and collage, DeFeo introduced photography into her oeuvre in 1970.
I had nothing in
between my ears to
draw upon, no reservoir of ideas that comes from years of experience of
painting» Following the example of Downes, Hatton started going outdoors to
paint — «construction machinery, backhoes
and bulldozers.»