Sentences with phrase «canvas works became»

In creating these works, the artists used various techniques including altering the outline of the canvas, building up relief, cutting into the plane, and using materials alternate to traditional canvas as support... Shaped canvas works became popular in the 1960s as artists sought to emphasize the potential for paintings to be considered objects.

Shaped canvas works became popular in the 1960s as artists sought to emphasize the potential for paintings to be considered objects.

Not exact matches

Dmitri describes the work as a «narrative about creatures, animals, flowers, mycology, biology and even science itself... the canvas becomes a story weaving a tapestry about ecology.»

In my case, if I were to pay to have a piece framed, my costs become much higher for a work on paper than for a canvas painting!

This transition from figuration to abstraction was accompanied by new working methods: his paintings became larger and he abandoned the easel, often pinning his canvases to his studio walls or floor.

It has become a commonplace that Stella peaked too early, and that the deep - thinking black paintings and other inexpressive canvases of the 1960s have more virtue than the hulking late works, whose swooping forms seem more pedestrian.

The flat plane of the field, with its painted boundaries can be seen as a metaphor for the canvas — and in this way the painting becomes self - reflexive and the act of painting itself the true subject of the work, thus demonstrating a clear tension between the image and its reference point.

He has worked each canvas hard, until it has no sense left of color or form, much as Josef Albers worked over spatial relationships until they stopped moving or Cy Twombly worked the trace of his hand until trace itself becomes something out of a myth.

These components are used to great effect in both Rejection Letter (acrylic with collage on paper mounted to canvas, 2009) and Untitled (With Your Best Interest at Heart)(framed acrylic on paper, 2009) in which the letters themselves adopt interestingly complex configurations even as the act of «reading» the work becomes a singularly entertaining part of the process.

Many of Schnabel's signature tropes — the use of dropcloths and soiled canvases, the incorporation of studio debris and other «imperfections» into the body of the work, and his re-imagining of found materials — have become celebrated gestures in contemporary painting.

Deeply inspired by Matisse, his work is a negotiation of the flat surface of the canvas in which figuration becomes form and deeply intimate things become neutral.

With the influence of Wassily Kandinsky and Sonia and Robert Delaunay becoming instantly evident, the opening work of the exhibition, Composition abstraite (1967), is a two - tone canvas of vibrant blue and red.

Mangling the stretcher and piercing the flat edifice of the canvas to unleash it into three - dimensional space, her works become transformed into something closer to sculptures.

For more than a year he worked on what became known as his Black Paintings: large, aggressive canvases covered with stripes of black enamel paint that formed repetitive, rippling patterns.

A painting may begin in a traditional sense, with a few strokes on canvas, then become whitewashed, sanded, thrown on the ground to collect spills from another project, whitewashed again, and so on, up to at most 15 times before a surface is built, and the work is deemed finished.

The controlled minimalism of his works in the late 1950s and early»60s gave way to maximalist riots of colour later in his career — with subsequent works surpassing 2D canvas to become sculptural.

Still explains the «ascending verticality» and «aspirational thrust» of his canvases throughout his career as taking root in his early landscape painting which he described as «records of air and light, yet always inevitably with the rising forms or the vertical necessity of life dominating the horizon... And so was born and became intrinsic this elemental characteristic on my life and my work.»

Lateness became part of the myth: of an underdog determined to make it the hard way; an artist working from daybreak to sunset in a studio so small it could hold only a single canvas; a secretive man who kept neither diaries nor notes, nor even talked to his wife about his work.

The smudged passages of paint defacing parts of Oehlen's canvases become, in Wool's work, something like the ground of the composition.

At this point, drawing became critical to the development of the paintings as the artist skillfully drafted works on paper that would translate directly to the canvas.

«My photo emulsion on linen work began with collages of paper strips, corrugated plastic board and packing tape, which were then photographed and printed on photo - sensitive linen and stretched on canvas to become «paintings.»

There are no traditional canvases in Gomes's work: painting instead becomes sculpture, object, an act of mark making upon a surface, or an arrangement on a wall.

In the late 1960s Lynda Benglis became famous for her radical re-envisioning of sculpture and painting through her early works using wax and latex, which she poured on to the ground to take painting off the canvas and into architectural space.

The Turner Prize - winning artist Chris Ofili became an international celebrity early as a result of the «Sensation» exhibition, then morphed his style away from the collaged and encrusted canvases that brought him renown to create sensuous paintings of Afrocentric fantasias — works that are irresistible to collectors but occupying a lower public profile.

The paintings, works on paper, mixed - media collages, and photographs feature a number of purchases, including Audrey Flack's large oil and acrylic canvas, World War II (Vanitas); two elaborate mixed - media collages by Mickalene Thomas; textile artist Sonya Clark's Unraveling; photographs of performance artist Cassils» Becoming an Image; photographs related to Leah Modigliani's Morris Gallery exhibition The City in her Desolation; and works on paper by Fernando Orellana.

In her work, a slice of bread becomes a stand - in for the canvas as the condiments become paintings within paintings.

Natalie Reusser's experiments evolve from a fundamental engagement with the materiality of canvas and paint to a body of work, in which the textile qualities of the supporting material become the focus.

Transitioning from the sparer, more graphic works of 1960 — 61, Frankenthaler made paintings that more readily filled the space of the canvas, moving toward what critic B. H. Friedman described as the «total color image» that would become a hallmark of her later work.

But soon the spray paint became a part of her visual vernacular and it was no longer a defacement of the work but a vital addition to the elements at play within the environment of the canvas.

The painting became the act of writing a text on a canvas, but in all my work, text turns into abstraction.

In works such as this, Newman himself became deeply moved by the stunning velocity of his «zip» flowing across the surface of the canvas.

Seeking to sustain translucency and increase density in the color overlays, Jenkins first worked in the new water - based acrylic in 1960 and it soon became his preferred medium for painting on canvas.

In 1966 he switched to water - based acrylics, somewhat belatedly but for the usual reason: abstract painters working at the time on large canvases with solvent - based media had become increasingly aware of their hazards.

Painters usually work straight onto a white canvas, but I thought, what if I put a light wash of colour on the canvas so the canvas becomes like a piece of pastel paper.

The Coachella Valley and its desert landscape become the canvas for a curated exhibition of site - specific work by established and emerging artists (25 February - 30 April 2017).

More recently, I've become devoted to working on large canvas pieces, painted with either acrylic or oils.

Since then, his work has never stopped changing and surprising: The flat canvases developed into reliefs that later became three dimensional objects.

Ferris's works are also not un-Rothko-like in their tonal values, their hazy colour borders and somehow, despite their unashamedly much busier content; when you zone in on a small section of the busy canvases and let yourself become immersed in the works, they seem to share in a little of the late Abstract Master's quiet reverence and calm.

Pascali's other works involving canvas include «Grande bacino di donna, mons Venus», and «Labbra rosse», these works were large flat canvases that became three - dimensional sculptures through the use of wooden structures, paint, and other materials, though they were still able to be hung on the wall.

The focus and precision of these small patches and plots fades as the eye works toward the edges of the canvas, akin to what the human eye does when focusing on one area of landscape: The edges blur and become mere suggestions of forms.

Think of all that trendy work flying off the canvases, covering the entire wall, becoming even an installation.

In explaining the unfinished or incomplete quality of his works, he has said: «It is a continuous becoming, from one canvas to the next.»

In Tsao's paintings on canvas (many - layered works created in Tsao's specially designed paint flood - room), the physicality of brilliantly colored paint also becomes architecture; in contrast, these «Round» works are the distillation of the spirit of color.

The center became decentralized, the paint pushed to the edges of the canvas or plate whilst the middle remains pristinely white, giving the works a conceptual openness.

«A watercolor will turn into a digital piece, which in turn becomes a work on canvas.

Other important works featured in A Walk on the Beach include Jim Dine's rendering of conch shells in oil, acrylic, charcoal, and pastel on canvas and paper, Key West Picture (1981) and his bronze sculpture from 1983, The Shell and the Log, where the log becomes both part of the work and the pedestal for a bronze conch shell.

In the last years of his career, Fontana became increasingly interested in the staging of his work in the many exhibitions that honored him worldwide, as well as in the idea of purity achieved in his last white canvases.

Even as the digital revolution has become increasingly relevant among painters, many of whom have chosen to work between the computer and the canvas, the historical presence of painting continues to persist.

Emerging from her use of objects in her paintings and her inclusion of found objects in her ephemeral site - specific works, these new painting - sculpture hybrids contrast monochromatic white and black areas with brightly - hued squiggles, splashes, stripes, and mazes and investigate what happens when a canvas and an object become a simultaneous and continuous surface for painting.

Various materials — embroidery, acrylic paint, fabric and canvas — are sewn together to become continuous, integral elements of the work.