Sentences with phrase «conceptual spaces of her paintings»

Not exact matches

Made from the crushed bedrock of Barcelona, Berlin, Hong Kong, London, Milan, New York, and Paris, Wang's monochrome paintings represent a representation of urban geography, occupying a liminal space between Land and Conceptual art.

Irene Grau is a Spanish conceptual artist who challenges the boundaries of contemporary painting, the perception of color, and the limits of space.

JMcK: You play with the gallery space just as Capability Brown played with the landscape, both big steps in conceptual terms away from the strictures of the picture plane, and from easel painting.

ABOUT THE UNTITLED SPACE: Founded in 2014 by Indira Cesarine, The Untitled Space gallery features an ongoing curation of exhibits of emerging and established contemporary artists exploring conceptual framework and boundary pushing ideology through mediums of painting, sculpture, printmaking, photography, video and performanceSPACE: Founded in 2014 by Indira Cesarine, The Untitled Space gallery features an ongoing curation of exhibits of emerging and established contemporary artists exploring conceptual framework and boundary pushing ideology through mediums of painting, sculpture, printmaking, photography, video and performanceSpace gallery features an ongoing curation of exhibits of emerging and established contemporary artists exploring conceptual framework and boundary pushing ideology through mediums of painting, sculpture, printmaking, photography, video and performance art.

Opening on October 22nd, their Mid-City space will be filled with Williams» hypnotic, large - scale paintings on canvas and metal that present the physical and conceptual disintegration of structures.

This is an exit out of the picture, but the language of the painting forms a ligament to the edifice, connecting the pictorial, conceptual, and physical spaces through the established language of color and form in the painting.

Los Angeles, California — Kohn Gallery is pleased to present an exhibition of new paintings by southern California - based, Light / Space and Conceptual artist, Joe Goode.

Founded in 2014 by Indira Cesarine, The Untitled Space gallery features an ongoing curation of exhibits of emerging and established contemporary artists exploring conceptual framework and boundary pushing ideology through mediums of painting, sculpture, printmaking, photography, video and performance art.

This show presents work by more than a dozen artists (all of whom are also curators, and / or have run or currently run spaces of their own) in a range of media that covers several bases: conceptual and abstract art, figural painting and drawings, and political pieces.

Bob and Roberta Smith creates brightly coloured text - based paintings with powerful social messages; Yinka Shonibare clads figures in colourful batik to create politically loaded sculptural or photographic tableaux; Thomas Heatherwick is one of the world's leading designers, whose Olympic Cauldron fired the imagination of viewers in the opening ceremony in 2012; Rebecca Warren fuses everything from the ideas of conceptual artist Joseph Beuys to the cartoons of Robert Crumb, creating vitrines and lumpy sculptural figures; Conrad Shawcross brings engineering and sculpture into collisions of mechanics, sound, light and space; and Louisa Hutton, of architects Sauerbruch Hutton, designs buildings with a flair for colour and material richness.

According to Pan, her paintings begin with openness — a space to explore conceptual ideas of memory, experience and emotion.

Past Futures: Science Fiction, Space Travel, and Postwar Art of the Americas features over 60 works in a range of media and creative styles — from expressionist paintings and kinetic sculptures to graphite drawings and conceptual pieces.

From 1991, Stingel began making «carpets» with which he often covers entire spaces, including walls: it is a non-painting that crosses the limit — also conceptual - of what a painting is, and becomes an environment.

Between the late 1980s and early»90s, says Matthew Higgs, director of White Columns, New York's oldest alternative art space, «artists like Pierre Huyghe and Rirkrit Tiravanija rethought conceptual practice, and artists like Elizabeth Peyton and Peter Doig rethought traditional painting.

As New York painters were progressively rejecting illusionistic space and moving toward a more literal space and bigger formats — which would logically lead a few years later to Donald Judd's rejection of painting in favor of sculptural space — the concept of le tableau continued to provide a conceptual framework to painters within the French idiom that would allow painting to evolve without losing the basic elements of its identity.

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.

Chabet's recent installation, 10,000 Paintings I Must Paint Before I Die (2009), shown in April at Mag: net Gallery — an artist - run space in Quezon City — was very much a reflection on the history of Modernism, but with a conceptual edge unique to the artist.

Deborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world - wide, whose diverse practices include painting, works on paper, sculpture, video, photography, performance, conceptual future media and public space installations.

Like the fluctuating, expansive space suggested by her elegantly varied paint handling, surface inflections, and color relationships, this conceptual contradiction keeps us a little off balance, suggesting yet another layer of allusion even as the specificity of that allusion escapes us, like an imperfect memory or a rapidly disappearing dream image.»

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

1983 Presence Descrete, Musee des Beaux - Arts de Dijon, Dijon, FR Radio by Artists, Walter Phillips Gallery, The Banff Centre School of Fine Arts, Banff, CA In Other Words: Artists Use of Language - Part 2, Franklin Furnace, FR The Chinese Chance, an American Collection, The Butler Institute of American Art, Youngstown, Ohio, US Projects and Performances, Islip Art Museum, Islip, New York, US Live to Air, Franklin Furnace, New York, US Halle für Neue Kunst, Schaffhausen, CH The Rainer Speck Collection, Museum Haus Lange und Museum Haus Esters, Krefeld, DE Sculpture, Leo Castelli Gallery, New York, US Summer Show from the Collection, Van Abbemuseum, Eindhoven, NL Collection of the Museum Van Hedendaagse Kunst, Gent, Belgium, Musee d'Art Contemporain, Montreal, CA Projetto Genazzano, La Zattera di Babele, Genazzano, IT Conceptual, Rhonda Hoffman Gallery, Chicago, Illinois, US When Words Become Works, Minneapolis College of Art and Design, Minneapolis, Minnesota, US Masterworks of Conceptual Art, Paul Maenz, Cologne, DE Language, Drama, Source and Vision, The New Museum of Contemporary Art, New York, US ARS 83, The Art Museum of Ateneum, Helsinki, FI Word Works, Walker Art Center, Minneapolis, Minnesota, US Between Words and Things, Clare College, Cambridge, UK Festival d'Automne a Paris, Paris, FR The First Show: Painting and Sculpture from 8 Collections 1940 - 1980, The Museum of Contemporary Art, Los Angeles, California, US Hundreds of Drawings, Benefit Exhibition and Sale, Artists» Space, New York, US December Exhibition, Anthony d'Offay Gallery, London, UK American Video, Arts Council of Great Britain, London, UK There But For, screening Infermental II (video magazine), Hamburg, DE

Working with a wide array of materials, everything from photos, string, sewing, paint, wood paper, time, mirrors, light and space, Oakland based artist Chris Duncan mines questions of optics, geometric abstraction, colour theory, and dynamic patterning, along with a variety of materials to ponder ideas such as perception and balance, in both conceptual and physical forms.

Lozano's abstract paintings, reaching a peak of geometrical clarity in 1965, were explorations in the artist's understanding of space; similar work was being done by the conceptual and minimalist artists of the era, such as Donald Judd, Sol Lewitt, and Mel Bochner.

In 1964, at Galleria Sperone in Turin, he showed the body of work called Plexiglass — a first transposition in real space of the new open dimension of the mirror paintings, as well as a declaration of art's «conceptual» character.

In today's museum world, where competition for exhibition space is escalating, emptying two large rooms, painting them black, and then posting a text instructing the viewer on how to perceive a black painting is an ambitious conceptual gesture — one that becomes even more commanding in view of the fact that the exhibition's curator, Stephanie Rosenthal, limited her checklist for the show to just four American male heavyweights who made black paintings between 1945 and 1965.

Deborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists worldwide, whose diverse practices include painting, works on paper, sculpture, video, photography, performance, conceptual future media and public space installations.

In modern painting, both conceptual and perceptual methods of representing space are often combined.

«From the Collection: Looking at Process,» de le Cruz Collection Contemporary Art Space, Miami, FL, December 3, 2013 — October 11, 2014 «Postscript: Writing After Conceptual Art,» MCA Denver, Denver Colorado, June 21 — September 2, 2013 «Cinematic Visions: Painting at the Edge of Reality,» Victoria Miro Gallery, June 8 — August 3 2013 «Black and White,» Galerie Sho Contemporary Art, May 7 — June 8, 2013 «Speak, Memory,» The Wallach Art Gallery, New York, NY, May 1 — June 8 2013 «Network of Mutuality: 50 Years Post-Birmingham,» The Art Gallery, University of Maryland, College Park, MD, January 30 — April 27, 2013

What this has meant for Stella is that not only has he expanded upon his own historicized work of the late»50s through the»70s — work that turned abstract painting into «a thing in the world» rather than pictures or signs of thoughts or emotions — but that he also opened for himself a new conceptual and visual space.

From Instructions, his 1989 guide to painting do - it - yourself «Stingels» — perhaps a satirical reaction to ego - fuelled 1980s painting — to his orange carpets that, from 1991 to the present day, have stretched over the floors and walls of viewing spaces like an industrial version of color field painting, Stingel has sought to strike a balance between conceptual rigor and the retinal sensuality of painting, between detachment and participation, even between decorativeness and mental purity.

Corse was included in three significant historical group exhibitions tracing the history of Los Angeles conceptual art: Venice in Venice, a collateral exhibition curated by Nyehaus in association with the J. Paul Getty Museum at the 54th Venice Biennale (2011); Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950 - 1970 (2011 — 2012), at the J. Paul Getty Museum, Los Angeles; and Phenomenal: California Light and Space (2011), at the Museum of Contemporary Art San Diego.

Simultaneously recalling paintings on velvet, black - light posters and Warhol's disasters and race riots, Ratcliff's works consistently negotiate the oppositions of positive and negative space, of abstraction and figuration, and of a conceptual rigor and the punk aesthetic.

• Unique Forms of Continuity in Space (bronze)(1913) by Umberto Boccioni • Fountain (urinal)(1917) by Marcel Duchamp • Bird in Space (bronze)(1923) by Constantin Brancusi • Merzbau (3 - D collage)(c.1930 - 43) by Kurt Schwitters • Pierced Form (1931) by Barbara Hepworth • Fur Cup (1936) by Meret Oppenheim • Presidential Portraits, Mount Rushmore (1941) Gutzon Borglum • Horse (bronze)(1950) by Marino Marini • Sky Cathedral (painted wood)(1958) by Louise Nevelson • Homage to New York (exploding construction)(1960) by Jean Tinguely • Untitled (Stack)(lacquered iron)(1967) by Donald Judd • A Thousand Years (installation)(1990) by Damien Hirst • Apple Core (1992) by Claes Oldenburg • Puppy (Plants, wood, earth)(1992) by Jeff Koons • My Bed (installation)(1999) by Tracey Emin • 227: The Lights Going On and Off (conceptual art)(2001) Martin Creed • Controller of the Universe (tools and wire)(2007) by Damian Ortega

Presenting a group of 20 paintings alongside a conceptual sound collage of music and sonic ephemera, Erizku traffics in the space between sound and sight.

If Stella's call for a new sense of space tends too quickly towards a literal - minded interpretation, the problem with Peter Halley's Neo-Geo abstraction was that it moved painting into a philosophical, theoretical, and technological / conceptual space which was literal or literalizing in its very own way (e.g., as geometric abstractions came to serve as the pictorial ««models» of intellectual concepts»).