Sentences with phrase «between painting as object»

Komada's practice reveals the metaphoric space between painting as object and painting as action and explores the boundary between art and craft.

Her sculpted canvases blur the line between the painting as an object and the painting as a space for depicting objects.

Jutting out from the wall and sculptural in form, Murray's paintings and watercolors playfully blur the line between the painting as an object and the painting as a space for depicting objects.

Not exact matches

Catholic teaching distinguishes between dulia — paying honor, respect and veneration to saints and also indirectly to God through contemplation of objects such as paintings and statues — and latria — adoration directed to God alone.

The Light Between Oceans paints Tom and Isabel's romance in elliptical glances — a seductive strategy, but also one that leaves them feeling less like fully fleshed human beings than objects as symbolic as that lighthouse, the broken piano in their seaside home, or a metal rattle that becomes integral to the plot.

Water was «read» by their mind, heart, sensorial attitude, into a valuable process of transdisciplinary knowledge.3 The visit to The Water Tower4 of the town and its museum facilitated the real knowledge of the objects and instruments that were used during the centuries by the rural and urban civilization concerning the use of water; the creative workshops facilitated unexpected «meetings» between poetry, music and painting in the artistic imaginary frame of water; the presentations revealed the magic powers of the water as they are known in folklore, mythology and also the astonishing Bible significations of the water and its use in religious rituals; the scientific outlook on water brought forward for discussion its physical - chemical properties, its role in the human metabolism and in all living beings.

These works, like «Providence Spirits (Gold)» (2017), are the most lovely objects in the show and are meant to stand out as carry horses for the metaphor of wealth and the gap between the lives these heavily aestheticized and finely crafted paintings represent and the lives (alluded to in other rooms) that are deemed worth significantly less.

Best known for her colossal sculptural projects, for over five decades Phyllida Barlow has employed a distinctive vocabulary of inexpensive materials such as plywood, cardboard, plaster, cement, fabric and paint to create striking sculptures and bold and expansive installations that confront the relationship between objects and the space that surrounds them.

A selection of 21st - century objects, such as Richard Lee's Sinking and Burning (2005), a cabinet with reverse glass painting, also reveals unexpected links between historic and contemporary American art.

The category of painting is examined more generally in the wood panels on top of the pedestals: straddling the line between abstraction and representation, they offer painting as both an object within sculpture as well as a discrete project central to the artistʼs studio practice.

While other artists like Richard Tuttle and William T. Wiley were also experimenting with the unstreched canvas during the same period, Gilliam's sculptural approach was revolutionary in that it repositioned the viewer's relationship with the painting to include the object as well as the space around it, blurring the boundary between painting, sculpture, and architecture for the first time.

The work operates in the space between the subject and the object, between photography and painting, in a tradition now well - established by forerunners such as the frequently - referenced Gerhard Richter.

The play between paint and object reveals Mr. Rockenschaub as the rare perfectionist who doesn't take perfection too seriously, and he's even better when he lets his hair down, as he does in five small, inscrutable paintings — hieroglyphs, really — of dashed black lines on lacquered MDF.

Margie Livingston's work participates directly in this narrative, creating hybrid objects that shift back and forth between sculpture and painting as well as abstraction and representation.

She works primarily with sculpture, exploring - with materials as different as glass, ceramics and concrete - the frontiers between painting and sculpture, object and architecture, form and context.

Other artists have sought to renew the formalist mantra of painting as object, either by painting on three - dimensional household objects or by working with the similarities between painting and plain old fabric design, as in clothing or folk quilting.

Inspired by the idea of an imagined society in which psychotherapy is a freely available drop - in service, Johnson's installation of large - scale paintings, hanging plants, Persian rugs and four wooden day beds questions established definitions of the art object and its limitations, as well as the relationship between individual and shared cultural experience.

Over and over again in the catalog, we read about Ligon's love for painting — de Kooning's Pirate (Untitled II)(1981) is a favorite, apparently — and how he, um, «opened up the semantic rules of identity and linguistic constructions between object - text and image - sign relations through the use of photography and text based on the appropriation of language, sign, text, and speech as material for his painting practice.»

They collapsed the distinction between painting and sculpture by reminding viewers that paintings start as three - dimensional objects.

What / Why: «We treat desire as a problem to be solved, address what desire is for and focus on that something and how to acquire it rather than on the nature and the sensation of desire, though often it is the distance between us and the object of desire that fills the space in between with the blue of longing. - Rebecca Solnit GRIN is pleased to announce Pools of Fir, a solo exhibition of new painting and photography by Brooklyn based artist Caitlin MacBride.»

Best known for her colossal sculptural projects, for over four decades Barlow has employed a distinctive vocabulary of inexpensive materials such as plywood, plaster, fabric and paint to create striking sculptures and expansive installations that confront the relationship between objects and the space that surrounds them.

As with her early design work, her vividly - coloured paintings explore complex arrangements of forms, ideas of depiction versus reality, and the expressive relations between objects and colours.

The exhibit tried to break the barrier between the subject of painting and the art object itself, as with Dada.

For him, silence was a landscape of unintentional sounds experienced between intentional sounds; as such, it was absolutely substantive, inseparable from and interdependent with sound.22 By extension, we might expand our view of the White Paintings, considering them not as inert screens waiting to be activated by life's subtle projections but rather as provocative agents of activity and profoundly physical objects that link our actions and perceptions, making us aware of the same perceptual interdependency that was central to silence for Cage.

Hoang's current show AS THE CROW FLIES at Halsey McKay Gallery (through April 30th) includes eight paintings that continue her exploration of chromatic greys that flicker between object and illusion.

Playing the role of alchemist, each artist in Between Spaces will recast familiar materials and objects such as wood, paint, mirrors, moving blankets, Plexi - glass, Venetian blinds, and metal grating to make the ordinary strange.

Through paint, pixel, word, and fabric she creates work that functions as a bridge between the hypothetical and the physical, objects operate as artifacts of personal - as - political discovery formulated within a landscape balancing between nihilism and mysticism.

Combining oil paint, canvas, and paper with non-traditional materials such as latex rubber, linoleum, straw, leaves, and hair, along with weathered objects salvaged from abandoned farms, she constructs works that occupy a space between painting and sculpture while hinting at transgressions and violence within the domestic setting.

As an image / object, it hovers between painting, photography, and relief sculpture, and between realism and abstraction.

Sonsini also recognizes similarities between his painting practice and the craft - based tasks his subjects are often hired to complete, as both manually create an object from nothing.

As such, looking across the paintings the object appears to shift between guises, moving from evoking the calmly undulating natural form in a landscape to the brazen and speedy flash of the carnivalesque.

«After the collages, I began to paint the eyes approaching the paintings on board as decorative objects symbolically representing the eye motif while creating an optical situation where the interior image and periphery of the painting (margins outside of the eye and thus painting) serve as a flipping perspective between view finder mask to visible interior image.

Situated in the proximity of apertures to the surrounding neighborhood, the untitled paintings, all 2016, the majority incorporating both oil paint and pasted digital prints, assumed a comparable role as portals, redoubling the representational logic of their scenes even as the disjuncts between the objects depicted complicated them.

Installed among a number of large, monochromatic pictures, now known as the White Paintings (1951), and a few Elemental Sculptures (ca. 1953)-- objects combining stone, wood, rusted metal, and found objects — was a selection of his Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 Paintings (1951), and a few Elemental Sculptures (ca. 1953)-- objects combining stone, wood, rusted metal, and found objects — was a selection of his Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 and 1952.

In her painting practice Earnest uses unconventional materials such as aluminum tape, carpet fuzz, insulation, drywall tape, cement, contact paper, latex gloves, and joint compound, and she seeks to explore how abstract spaces such as «home» can be defined through the complex relationship between objects and memory.

Many had the desire to break down the distinction between painting and sculpture, to create paintings that were physical objects as well as abstractions.

Bertrand Lavier is known for his practice of thickly coating everyday objects such as a fridge or a piano with acrylic paint, thus blurring the line between sculpture and painting.

And just as the decimated forms of Cubism introduce an integration between image and surface, the Stellas here progressively articulate a new agreement between painting as image and as object.

While some artists, such as Mel Bochner, rejected painting and the sculptural object outright, calling for a «dematerialization» of the art object altogether, Sonnier and Merz collapsed the distinctions between painting and sculpture, employing commercial or industrial materials to tie their work more closely to the life of the street.

This companion volume to the artist's largest exhibition to date is a feast taken from countless visual documents of Kelley's early formation, such as his involvement with the experimental band Destroy All Monsters (DAM), which also featured Jim Shaw, Cary Loren, and Niagara (born Lynn Rovner) in 1973 while Kelly and Shaw were students at the University of Michigan in Ann Arbor; early performative sculptures and objects; drawings; paintings; handmade dolls and stuffed animal sculptures; photography; videos; and endless inventive installations in various forms and shapes that explore and deal with the themes of self - destruction, repression, class relations, sexuality, religion, politics, and whatever else lies between the grotesque and the sublime, the sacred and the profane.

But all operate like Donald Judd's «Specific Objects,» defined in 1964 as art that exists somewhere between painting and sculpture.

She cited three MOCA exhibitions as particularly influential: Paul Schimmels 1998 «Out of Actions: Between Performance and the Object, 1949 - 1979,» on the postwar merger of performance art with traditional painting and sculpture; «A Minimal Future?

Brenna Youngblood (b. 1979, Riverside, CA) incorporates her own photographs, representational fragments, and found objects, such as wallpaper and book pages, into her textured, atmospheric paintings that read between pure abstraction and a slice of life.

As the same rotating cast of inanimate characters appears again and again in the paintings, we realize that what we are seeing is a memory play, a chronicle of the interaction over time between objects and owner.

Schimmel has organized major one - person retrospectives for artists Chris Burden, Willem De Kooning, Takashi Murakami, Laura Owens, Sigmar Polke, Charles Ray, and Robert Rauschenberg, and significant thematic exhibitions such as The Interpretive Link: Abstract Surrealism into Abstract Expressionism, Works on Paper, 1938 - 1948 (1987), The Figurative Fifties: New York Figurative Expressionism (1988), Hand - Painted Pop: American Art in Transition 1955 — 62 (1992), Helter Skelter: LA Art in the 1990s (1992), Out of Actions: Between Performance and the Object, 1949 - 1979 (1999), Ecstasy: In and About Altered States (2006), and Collection: MOCA's First 30 Years (2010).

Focused on painting and sculpture, it explores «visible reality through the analytical lens of the 3D computer - modelling world», delving into the relationship between the art object that takes visible reality as its point of reference, and the boundaries of verisimilitude between observable reality, art and science.

Everything in this art wells out from bodies — as Kerry Downes noted in his 1980 study of Rubens, «space in his paintings exists between and because of objects and not independently of them»...»

The best - case scenario is when I'm painting, it feels as if I'm feeling that object through the brushstroke, or I'm reimagining what it means to be that object, in paint, so a lot of what I'm after is this correspondence between the object and the paint mediated through me.»

He is now as famous for claiming to act within the «gap between art and life» as he is for his Combine works, in which he bridged the gulf between painting and object.

For her first solo exhibition in Italy, La Kermesse Héroïque, the Brussels - based Lucy McKenzie has made a group of new works, including mural paintings on canvas, painted objects, sculptures and figures - combined with elements of decor (such as lighting and furniture) to explore the relationship between style, ideology and value.