Sentences with phrase «consider paintings as objects»

His work as an artist and an educator encouraged many in his own generation and future generations to consider paintings as objects rather than mediums or intermediaries to transcendent experiences, and assisted late 20th Century Modernism in its quest to stay inventive and free.

Not exact matches

Composed of humble materials such as hand - painted string, delicate jewelry chains, tiny nails, stones, Plexiglas, slight metal rods and weights, and an occasional graphite line, every single object is pivotal to the overall composition and each is carefully considered for its intrinsic physical properties.

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

As I consider my identity and find similar struggles echoing in society, I want to visualize the challenges we all face with paintings of representational creatures and objects placed in bizarre fairytale environments.

Sietsema is not interested in trompe - l'oeil for the sake of showing off; at the end of the day, his paintings and works on paper are a highly considered critique of the production of cultural objects and the roles that they play as they circulate.

Considering two - dimensional works only as a manifestation of an idea, and not as objects, his drawings had a limited duration and all of them were ultimately painted over.

For him, silence was a landscape of unintentional sounds experienced between intentional sounds; as such, it was absolutely substantive, inseparable from and interdependent with sound.22 By extension, we might expand our view of the White Paintings, considering them not as inert screens waiting to be activated by life's subtle projections but rather as provocative agents of activity and profoundly physical objects that link our actions and perceptions, making us aware of the same perceptual interdependency that was central to silence for Cage.

Drawn from the Detroit Institute of Arts» superb collection of Dutch art — considered one of the finest and deepest collections outside the Netherlands — this exhibition presents more than 70 paintings by great Dutch masters including Frans Hals, Rembrandt, Jakob van Ruisdael, Pieter de Hooch and Jan Steen, as well as a small selection of related decorative art objects.

Unlike Duchamp and conceptual artists who depended on theoretical concepts to define their artworks, Pollock and the Abstract Expressionists (often abbreviated as AbEx) considered painting an action, not an object.

Works such as Desk Chair (2012), an acrylic painting on aluminum, studies the graceful curves and ergonomic design of a common school desk, inducing the viewer to consider the form and function of such mundane objects more closely.

The upside is constant innovation — it seems this show will further Nelson's approach to considering paintings as 3D objects in installation - like environments.

These artworks are defined by Bonalumi as estroflessioni (extroflections) and are considered as truly object - paintings, due to the three - dimensional relief of the surface, achieved through the stretch of elastic canvases in particular looms.

«Although paintings can be quite valuable, their status as primarily aesthetic objects means people often consider conservation as something of a luxury — a luxury on top of a luxury, if you like.»

Cembalest writes that «the lowly status of Pollock's object - making has its roots in the artist's own day, when painting was considered the pinnacle of Abstract Expressionism — and sculpture, as Ad Reinhardt famously put it, was «something you back into when you look at a painting.»

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

The paintings were particularly discouraging, since they were scale-less and utterly mechanical; clearly we were meant to recognize them as indicators of ideas rather than consider them as objects with intrinsic expressive properties.

The idea of painting as object, hotly considered at that time, took on even greater depth with this work as it seemingly beamed out images of colors and shapes.

His lack of adventurousness and invention in this regard is in sharp contrast to the silkscreening (then considered solely a commercial process) adopted by Warhol for his paintings, or the soft vinyl sculptures of everyday objects concocted by Claes Oldenburg (who can be seen, in many respects, as the anti-Koons, outclassing him on every count of wit, irony, and imagination).

In fact, whether or not to consider Pundyk's paintings in «The Revolution Will Be Painted» as art objects alone could be one of the first questions Pundyk would like to compel those viewing the work to ponder.

Materials in the exhibition vary from hand - painted ceramic sculptures, documentary drawings, and frame - by - frame erasures of video images, all intricate material processes that consider found natural and synthetic objects as markers of larger metaphysical questions.

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.

Olson considers surface and framing as constructs in his work, employing handmade frames and, at times, thick borders of unpainted surface around a central painted field that act as a physical edge to the painting and call attention to its nature as both an image and an object.

As one of the simplest geometric figures, the circle is subject to huge variation, in nature and in art, and this exhibition considers the ways in which artists have gravitated to this universal and recurring form, and to the very idea of «roundness», through a variety of processes and media including paintings, sculptures, film and photographic, alongside design objects and historical artefacts.

If we observe Elizabeth Murray «taking cues» in her Sentimental Education, 1982, «from the clunky figures and objects in late Guston,» and if we note Whitney's «deceptively casual paint handling, largely adapted from Guston,» we might also consider Joan Snyder's Beanfield with Music, 1984, as a work that explores and draws on both the»50s Guston, who seems already (again) to be flirting with figure, and the later Guston, with his bizarre and darkly humorous landscape compositions.