Sentences with phrase «conceptual approach to painting»

The exhibition examines the artist's stylistic progression featuring work from different decades, and highlighting his conceptual approach to painting during the 1960s and 1970s.

Jack Tworkov: Mark and Grid examined the artist's stylistic progression featuring work from different decades, and highlighted his conceptual approach to painting during the 1960s and 1970s.

As part of his direct and conceptual approach to painting, Liu writes and draws in a journal and takes photographs before building a temporary studio in - situ, in order to paint en plein air or «xiesheng» as it is known in Chinese.

As part of his direct and conceptual approach to painting, Liu writes and draws in a journal and takes photographs before building a temporary studio in each location he visits, in order to paint en plein air or «xiesheng» as it is known in Chinese.

Jack Tworkov: Mark and Grid examines the artist's stylistic progression featuring work from different decades, and highlighting his conceptual approach to painting during the 1960s and 1970s.

He leaves behind a vast, influential body of work characterized by a radical, conceptual approach to painting.

The development of a conceptual approach to painting in his late work was a radical evolution in Tworkov's practice.

Not exact matches

Using light as a conceptual manifestation of the physicality of paint itself, works such as Three Fluorescent Tubes (fluorescent lights, 1963) and Alternate Diagonals of March 2, 1964 (for Don Judd)(daylight fluorescent lights, 1964) are particularly important for their connection to Russian Constructivism, a movement that influenced the Minimalists by its favoring of integrated production and industrial materials over the conventional approaches of traditional sculptural impulses.

The approach that the artists in Slipped have taken to clay as an extension of their painting or sculptural practices has resulted in an exciting and innovative works that combine the visual and sumptuous nature of ceramics with a conceptual rigour.

The Pyes» artistic output spans photography, film, performance, video, and installation while acknowledging the profound influences of surrealism in film, narrative conventions in painting, 19th and early 20th century portraiture, and conceptual approaches to subject matter.

Influenced by representational artists such as Fairfield Porter and Alex Katz, during her studies Fish was not always encouraged in her realistic approach, considering the fact that prestigious university's art programs advocated the idea of inferiority of the figurative painting in relation to abstraction or conceptual work.

She has worked across photography, film, and dance, but is best known for her experimental approach to painting, the medium in which she was trained, stretching its bounds and assumptions through conceptual and abstract works.

While his work of the 1950s and 1960s shares the aesthetic and conceptual concerns of abstract expressionism, Bluhm had also begun to test the limits of this particular approach to painting, most notably in the «poem - paintings» he created in collaboration with Frank O'Hara.

A certain reminisces of Minimal Art and Post Object art is notable, yet this selection, which ranges in media spanning from video, performance, sculpture, photography, painting to installations, reflects an apparent interest of the curator in conceptual and formal approaches of the artwork itself.

Shields was actively engaged with architecture, theater and dance, and while he consistently used the word «painting» in interviews to describe his approach, his art clearly takes on not only expanded painting practice, but also the conceptual and minimalist objects of the New York scene of the 60s and 70s in which Shields was immersed.

Aligning his practice with conceptual approaches of artists like Carl Ostendarp and Dan Walsh, Zinsser is deeply committed to exploring, but not crossing, the boundaries of painting.

The artists may vary in style, subject matter, temperament, and conceptual framework, but they are unified by their no - nonsense approach to painting.

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.

LeWitt's painted steel sculpture 1, 2, 3, 1972 - 73, like most of his sculpture, is a conceptual approach to exploring a cube in its myriad possibilities.

Then, each takes it in a different direction, using their unique approaches to painting and imbuing the works with conceptual content that challenge our point of view.

In part, a survey of the discipline of painting today, the works display a range of approaches, styles and conceptual concerns, and point to painting's continued relevance.

Using experimental colours and an unmistakeable playful approach to the traditional method of painting, Paricio has always set out to solve conceptual problems, to pay homage to great artistic figures of the past and to examine and question the role of the artist through his bright and dynamic canvases, layered with meaning.

Moreover, his groundbreaking approach to painting incorporates elements of sculpture, installation, design, performance, and radical conceptual provocation.

However, given the meltdown in the international contemporary art market, as well as the rise in popularity of traditional painting - as practised by many Eastern European schools - this conceptual / abstract approach may prove to be a long term weakness.

That show which featured painters such as Daan van Golden, Tauba Auerbach, and Wade Guyton accentuated conceptual approaches to abstract painting.

Adopting a multidisciplinary approach to his work through painting, assembling of objects, installation, photography, video, and performance art, his artwork offers a distant conceptual observation of the political and historical events that have shaped his country as well as subjectivity in regards to their resulting impact on humanity.

«The artists may vary in style, subject matter, temperament, and conceptual framework, but they are unified by their no - nonsense approach to painting,» Carroll writes in his statement for the show.

They range from figurative to abstract paintings, from assemblage to photography, and from conceptual to classical in their approach.

Spanning painting, drawing, printmaking, and sculpture the show explores «individual approaches to form, color, composition, material exploration and conceptual impetus within hard - edge and gestural abstraction.»

Created between 2012 and 2018, the works on display explore the varied approaches towards painting Tyson employs, from conceptual to mythological to formalist and beyond, and how these methodologies are united in the final result of paint on a canvas.

His education with Hickey and the eclectic visiting artist program, made of up of artists like Jim Shaw, Jeffrey Vallance, and Karen Carson, influenced Gobel's conceptual approach to portraiture and his painting practice.

Joseph is often inspired by nature and classical architecture, and approaches his paintings with a consistent conceptual practice similar to that of an architect's draft.

At Frieze New York, Alexander Gray Associates presents paintings and drawings by Jack Tworkov, charting the evolution of the artist's career from gestural abstract expressionism in the 1950s to a conceptual approach to geometric abstraction beginning in the late 1960s and 1970s.

All the painters I have mentioned (Whitten, Heilmann, Murray, Nozkowski, and Reed) developed approaches to painting that share something with LeWitt's definition of Conceptual Art.

Anyone at all interested in painting might want to start with the early 20th century in Mayfair and move to Wharf Road for more recent work, witnessing the abundantly various approaches to abstraction over time — conceptual, geometric, gestural, hard - edged, romantic, numinous, optical, comic.

It is only intended as a framework, not a controlling schema; a conceptual map that the therapist should use for general reference, rather than as instructions to be used in the course of a rigid «paint by numbers» approach to family assessment.