Sentences with phrase «colored narrative paintings»

Weintraub explores potentials for the future of humanity through large - scale hyper - colored narrative paintings, which are saturated with information and describe a world where morals have fallen and children act without consequence.

Not exact matches

Accompanied by excellent color illustrations, Plain chronicles Audubon's adventurous life and the importance of his groundbreaking bird paintings in an absorbing, meticulously researched narrative.

So I was not looking at abstract expressionist paintings, but I was looking at all that color and pattern and repetition in the tile work, and it gave me this insight into an experience that is not narrative.

I spend several moments studying each painting — taking in the colors, the compositions, the narratives, the forms — and this visual absorption just buoys up my spirits.

Braman creates abstract geometric sculptures and paintings in a distinctive color palette of rich pinks, blues, and purples, in which she simultaneously foregrounds the formal qualities of her materials while referring to her own personal narrative.

In the years since then, he has worked consistently in series, pioneering new approaches to form, color, narrative, and abstraction with innovative paintings, prints, sculptures, and architectural installations.

Ryan painted distinctive images that look like stills from old Westerns movies — their colors and cropping have a cinematic feel and a strong sense of unfolding narrative.

A sphere made of colored strips of fabric torn from a plethora of unraveled paintings, The Painting Ball performs the undoing of painting in its traditional form to mark a tabula rasa moment that inscribes Saban's project firmly into the canonical narrative of painting's many deaths and resurrPainting Ball performs the undoing of painting in its traditional form to mark a tabula rasa moment that inscribes Saban's project firmly into the canonical narrative of painting's many deaths and resurrpainting in its traditional form to mark a tabula rasa moment that inscribes Saban's project firmly into the canonical narrative of painting's many deaths and resurrpainting's many deaths and resurrections.

Crosman writes that these paintings «don't depict Seal Point but rather are meditations on the ineffable qualities of a place as Walker has experienced it — color, light, motion, shape, texture — recording the narrative of how the artist feels about this special location over the course of changing seasons, months and years.»

Widely associated with a re-emergence of the figurative in contemporary painting, she has always maintained the primacy of color, with her narratives intricately based in her use of paint.

Often they are cropped, cut, fold, pierced, stitched, sanded and manipulated, these works refer to many of painting's most long running concerns - genre and narrative, pictorial space and illusion, and color and texture.

Kottie Paloma's new paintings are composed of muted colors and text portraying a rough poetry of daily life in which he describes as abstract narratives leading the viewer into snippets or chapters of a yet to be completed book.

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.

These iconic compositions of complex, skewed angles and radiant, tonal color allude to the multiple narratives coursing through the history of modernist painting, from the utopian vision of Russian Constructivism to the hallucinatory images of Op Art.

In Rosa's figurative paintings, a twinge of Socio - Realism is mixed with Pop tendencies, whimsical color choices and dreamy narratives to create a unique aesthetic landscape that often centers on the role of women in society.

Well known for the exotic atmospheres and dreamy narratives that appear in his work, executed in an uncommonly rich color palette and with a unique material sensibility, Doig has created some of the most resonant and evocative images in contemporary painting, placing him among the most inventive painters working today.

Ms. Honeywood, whose bright colors and simplified forms were strongly influenced by narrative artists like Romare Bearden and Jacob Lawrence, developed a socially conscious style of genre painting that showed black Americans in familiar settings: interacting with family members, gathering at church, socializing on a front porch.

Peter Clive's Narrative Figure Paintings color TEJAS Gallery By Morgan Laurens Photo: «Lamplight» depicts a solemn world of interiors «I have no use for Jeff Koons, for probably obvious reasons,» Peter Clive tells me.

Anderson's guttural desire to paint combines with his self - aware gestures and dream - logic narratives to produce work that is color zealous, figuratively ambiguous, and politically surreal — his paintings have appropriately been described by writer David Pagel as «dystopian abstraction.»

Gyun Hur's temporary installations of cut silk flowers draw upon familial narratives, collaborative practice, placeness, and color - field painting.

The landscapes look familiar enough from Western painting and Western narratives, for all their polar extremes — just as «Black Is the Color of My True Love's Hair» is an American folk song, Kerry James Marshall has taken to the barber shop as the locus of African American community, and blackness has a dark place in America's history.

TASTEE will feature paintings and sculptures with emphasis on color and narrative with various abstract elements further affirming the galleries signature approach.

The conventional narrative applied to Turner holds that the artist emerged from his roots in traditional landscape painting with a new style, suffusing form in light to create fields of color verging on abstraction, hence his connection with Modernism.

Her paintings encompass referential and non-objective forms of abstraction as well as figuration — rich in color and texture they engender loose, non-linear narratives.

He upends the conventions of narrative painting by sweeping away his content through brush and color.

Schjeldahl concludes: «Color - field climaxed a modern ambition to expunge narrative content from painting.

Mintz writes that Piotrowski's works «approach the possibility of narrative, though the artist deftly pulls back just in time» Conefry, Mintz notes, investigates «painting as object, something constructed and assembled,» while in Cohen's paintings «organic shapes lean against geometrics to create a push - pull of color and form.»

Not only does the color evoke narratives of love, it is also a symbol of violence, and tragedy for the paintings» subjects.

Richter's stark, lovely and somewhat eerily tinted photographs are reminiscent of stained canvas in abstract color field paintings, which have a fresh narrative viewpoint; in this instance, flowers that may have been influenced by early darkroom experiments by Man Ray.

«Celebrated internationally for large - scale, gestural paintings, the Ethiopian - born artist addresses both the formal concerns of color and line and the social concerns of power, history, globalism, and personal narrative,» said the announcement from Skowhegan.

By treating the words as shapes, den Breejen generates conceptual narratives and explores a personal take on movements such as minimalism, «action painting,» grid and color - field painting, and hard - edged geometry.

Monique Prieto, Luster Chimento Contemporary By Anna Garner Through October 28th Abstract paintings draw viewers» attention to the surface, gleaning content and narrative not from representation, but from the exchange between color, brushstroke, and texture.

Abstract paintings draw viewers» attention to the surface, gleaning content and narrative not from representation, but from the exchange between color, brushstroke, and texture.

His taut - surfaced, luridly colored works are among the most perfect unions of complex narrative and visual form in 20th - century American painting.

Scott Anderson's guttural desire to paint combines with his self - aware gestures and dream - logic narratives to produce work that is color zealous, figuratively ambiguous and politically surreal — his paintings have appropriately been described by writer David Pagel as «dystopian abstraction.»

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

The paintings are rich in color and texture and engender loose, non-linear narratives.

Only, in his work, Enrico Castellani would cover his framework of nails with a stretched canvas, painted in a single color, letting the structure underneath create endless patterns and landscapes, unique sequences and narratives that interact with the world around them.

With their luscious colors and high - gloss finishes, some of which took over a year to create, these elaborate paintings celebrate decorative beauty, while at the same time delivering an arresting and timely narrative about environmental degradation and homogenization.

While his contemporaries prioritized the exploration of materiality, abstraction, and in some cases the social and political climate of the time, Binion's works are intensely personal investigations of the multiple ways to make an abstract painting comprised of layers of line, color, and personal and historical narratives.

With these earlier paintings, created throughout the early 1960s during her time in America, Iannone commenced her exploration of vibrant color structures and intimate visual narratives.

The high velocity color and fractured narratives explored in these recent paintings show an uncompromising commitment to explore the compositional potential on all the canvases and triplewall plastic that he works upon.

The investigation of the 20th - century abstract artists has shown us that the qualities of line and shape, proportion, and color convey a meaning without the use of words, and without the the narrative quality of the traditional painting.

The artist adroitly manipulates her surfaces with dense, matte colors in thick slabs of paint, urging the audience to speculate on subjectivities and narratives insinuated but never imposed.

Incorporating the dynamic visual vocabulary of maps, urban planning grids, and architectural forms, alternating between historical narratives and fictional landscapes, Julie Mehretu's beautifully layered paintings and drawings combine abstract forms with the familiar, pairing the Roman Coliseum with floor plans from international airports, Le Corbusier's unbuilt megacity with blueprints from Zaha Hadid and Tadao Ando, and dashing it all together with a color field full of abstract geometry.

The forms themselves are created through the overpainting and flattening of the background in solid colors and their dueling properties oscillate fluidly between narrative and abstract paintings.

The 25 monumental paintings on view challenge a Western painting tradition that historically erases or misrepresents people of color, offering narratives centered on Black experiences and perspectives.

Influenced by the history of painting, especially Abstract Expressionism, Hancock transforms traditionally formal decisions — such as the use of color, language, and pattern — into opportunities to convey narratives.

Abney's narrative paintings and collages — filled with a pulsating mix of color, text, and figures — swiftly tackle topics related to race, gender, and politics.

Using the fine point of a bamboo stick, Pwerle paints masses of minute, individual dots that float, cloud - like, on a colored ground, shifting and vibrating within an indeterminate spatial plane, to depict the Bush Plum Dreaming narrative.