Sentences with phrase «between painting languages»

Radiant Fields presents us with an artist who is capable of moving between painting languages — abstract Expressionism, geometric Abstraction, neo-geo — without being beholden to any of them.

Not exact matches

In his 1986 book A Theology of Artistic Sensibilities, though offering a more balanced use of the terms clarity and mystery, Dillenberger argues that a blatant contrast between language and painting followed the rise of Protestant orthodoxy.

The fine pigments in the paint shift between light and dark depending on the incidence of light, showcasing the car's attention - grabbing design language to maximum effect.

Rainey works with and manipulates paintings language and physical qualities to create strange other - worldly painted environments; worlds where time stands still, and gravity is no more, resulting in paintings that lie somewhere between abstraction and representation.

The lightness of being in his work, the range of forms, contours, edges, saturations and coloring — and the lightness of the spaces in between his network of slashes, swatches, and other painterly exchanges, is so navigable for the eye that the paintings are airy, permeable, and most significantly, written in a language that is all his own.

Sites, subjects, and methods of observation are critical to each artist's visual language: planted fields, elevations seen from an airplane window, gradations of color in a sky reflected on a watery plane, shapes glanced at through apertures between buildings, or the puzzle of shapes in a tapestry - like world are some of the inspirations for the paintings shown here.

In the next decade, dark and ominous forms crowded his painting, forming a visual language somewhere between abstract and figurative.

The complex and eclectic universe of Bertrand Lavier is based on the continuous exploration of the boundaries between painting and sculpture, photography and painting, reality and imagination, language and object, the copy and the original.

The exhibition explored Gifford's on - going concern with the language of painting and the balance between painting and object.

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.»

The display explores the blurred lines between language, photography and painting and includes Gerhard Richter's Kerze (1982), a hyper realistic painting of a single, glowing candle famously used as the cover of Sonic Youth's 1988 album Daydream Nation.

Ultimately this failure of language takes us to the heart of her output: Gomes makes «things» somewhere between painting and sculpture, between the mundane and the significant, which attempt to capture the sensitivity of the visual world whilst knowing it can never quite be caught.

The display explores the blurred lines between language, photography and painting and includes

His work explores the intersection between painting and language and he uses both color and words to capture the viewer's atten...

It arises from «in - between» sphere of sculpture, painting, drawing, collage, installation, language and poetry.

Many of the forms used to represent roads, buildings, and train tracks seem to derive from visual symbols used in contemporary printed Japanese maps, an early example of the interplay between painting and popular visual language and print media which is so important in contemporary Japanese work.

Her deceptively romantic - naive visual language dissolves distinctions between abstract and figurative art, and her paintings exhibit a whimsical engagement with sources as various as Color Field painting, Pattern & Decoration, children's book illustration and textile design.

In both cases, the dense treatment of the surface straddles the line between sculpture and image while exploring painting as an idiomatic language.

Visual and mental snares await the viewer, who must negotiate a path between the opticality of color, the materiality of paint, and the sometimes outright obscenity of language.

The exhibition brings together a great range of artistic practices and languages (photography, video, painting, sculpture, installation...), cultures, geographic origins, generations and experiences, to establish a tension between extremely different artistic approaches: melancholy of vanity, ironic play with identity, political biography and existential questioning, the body as sculpture, effigy or fragment of its symbolic substitute.

Suffused with the play of color, light, and space, this new body of work uses the language of romantic landscape painting as it shifts between zones of abstraction and narrative.

Kidner's translation of the dialogue between order and indeterminacy into a visual language has meant that his work - though founded in a rigorous intellectual approach to colour and form - also resonates emotionally: «Unless you read a painting as a feeling,» he has said, «then you don't get anything at all».

At A+P, McMillian, whose artistic practice embodies a wide range of media and techniques, will discuss how he manipulates a multitude of materials, including those found in his everyday life, to create striking sculptural works, paintings, and videos that challenge the relationships between language, aesthetics and content.

His idiosyncratic practice is about getting inside and exploring this space like a language of his own — somewhere between drawing, painting, and sculpture and between subject, image, and form.

With two distinct approaches to contemporary painting, Bresson and Prata mute stylistic expectations in the service of a visual language that has no spoken form; a collection of simplified narratives, signs and symbols that communicate from the silences between words or thoughts.

Mara Baker's work explores the interplay between the real and the representational, often using tactile materials that reference the language of formal painting.

The book draws parallels between humanist themes reflected in both Guston's paintings and drawings as well as in the language and prose discerned in five of the 20th century's most prominent literary figures: D.H. Lawrence, W.B. Yeats, Wallace Stevens, Eugenio Montale and T.S. Eliot.

The works incorporate both the language of abstraction, and that of figurative painting to form a relationship between the two; these are amalgams of both painting and video possessing the quality of both forms.

Writing on Owens» navigation between genres as diverse as folk, conceptual, and classical painting, Paul Schimmel said, «Owens has found a language that questions the nature of painting while embracing its multifarious manifestations.»

Birnbaum has orchestrated his exhibition «Making Worlds» between the Arsenale and Palazzo delle Esposizioni in the Giardini as «an omnivorous and centrifugal show without sections where all the creative languages between installations, video and film, sculpture, performance, painting, and design follow one another with a common denominator: a «painterly sensibility.

As artists» writing became more significant, the distinction between sculpture, painting and language blurred.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezePaintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings reimagine the still life as a chance freeze - frame.

Amy Sillman is an artist whose paintings, drawings, and animations actively negotiate interactions between abstraction and figure, language and image, feeling and form.

Although his imagery seems to allude to some form of cultural commentary, the relation between abstraction as an irrational process on the one hand and the manifestation of the overlapping poured shapes on the other asserts a calculated agreement to disagree with the language of painting and its representation.

Everything: drawing, painting, language from vulgate to Olympian, mathematics, pictographs, architecture, writing in tongues, the body, the war between the sexes, myth and history, and nature, especially the sea.

He explores painting's inherent language - hoping to find the meeting point between the recognizable and the abstract.

For his latest exhibition at Copenhagen's V1 Gallery, The Quiet of Not Listening, LA's Geoff McFetridge further explores his iconic & subtle graphic language in a series of solemn new paintings and drawings that explore the unlikely relationships between humans and chairs.

APRIL 18 through MAY 23, 2015 Opening Reception: Saturday, April 18, 7 - 10PM Bermudez Projects is proud to present Nanci Amaka Beast, the artist's first solo exhibit in which she explores the aftermath of trauma, identity, memory and the liminal spaces between experience and language with richly - layered mixed media paintings, drawings and audience - involved performances as a -LSB-...]

Ligon, who based his ongoing «Stranger» series around this essay, documents the smudges of paint, oil stains, and fingerprints that have accumulated on his copy throughout his career, which he considers a «palimpsest of accumulated personal histories that suggests... a new strategy in his ongoing exploration of the interplay between language and abstraction,» according to a press release.

What got me most was the magic of feeling I was listening in on conversations between color groupings — how the reds and blues seemed to be speaking (or perhaps singing) in slightly different dialects of the same paint language, some mute or just whispering, other maniacally chatty, muttering or even yelling bloody murder — all which keeps your eye moving back and forth trying to figure out what it all means.»

Artist Statement My work shifts between the zones of abstraction and narrative, applying the language of romantic landscape painting.

Her work is an ongoing negotiation between the improvisatory and the structural aspects of thinking itself, with painting posited as a language in which to express thinking in a formal and affective way.

This new body of work shifts between the zones of abstraction and narrative by applying the language of romantic landscape painting.

The artist will be exhibiting a number of large illustrative paintings that experiment with the existent relationship between representation and pictorial language.

During the same period, Smith translated this language into the two - dimensional, using painting to examine the interplay between space and form.

Los Angeles - based artist Ed Ruscha, one of the seminal American artists of the past 30 years, is known for taking elements from the visual language of advertising and commercial art: he has made hundreds of «word» prints, drawings and paintings that exhibit an interplay between bold letters and softly shaded, atmospheric backgrounds.

The Americans had broken away from the European and especially French tradition of modern painting, or, in the period language, «the tasteful cookery of oil pigment, the direct backing of the Old Masters and all precedence of rules», as Hess wrote in his obituary of Kline.50 As is recorded in one of the news reports of the acrimonious exchange between Fautrier and Kline at the Venice Biennale of 1960, when Fautrier pronounced an insult to the effect of «U.S. Go Home!»

Their languages arouse an attentive reading, between the narrative of painting and the sociological discourses of contemporary art.

Moving fluidly between painting, publishing, photographic collage, video, and performance, Pendleton creates structures that engage with language on a literal and figurative level to yield new, radical meanings.

Laura Owens undoubtedly takes a special position in the field of young contemporary painting, as her seemingly romantic and naïve pictorial language goes beyond the separation between abstract and figurative art.