Sentences with phrase «contemporary approach to painting»

With a contemporary approach to painting, his famous methodology of deconstruction and reconstruction, through the peeling, disfiguring and re-layering of oil on canvas forms images of otherwise hidden expression.

During the exhibition preview, much was made of the artist's fully contemporary approach to painting, and it's hard to argue this point.

Not exact matches

«JACK WHITTEN: Five Decades of Painting» Museum of Contemporary Art San Diego, La Jolla, Calif. Sept. 20, 2014 — Jan. 4, 2015 Jack Whitten's approach to abstraction is distinct, defined by his career - long commitment to evolving his practice.

Coming of age as an artist in 1950s New York, Katz developed his unique approach to contemporary representational painting during the height of Abstract Expressionism.

Post World War II Jackson Pollock's radical approach to painting revolutionized the potential for all subsequent Contemporary art.

As Victoria L. Valentine writes in an extended preview for Culture Type, «The Seattle Art Museum (SAM) is organizing a major exhibition of three critically recognized African American artists... The exhibition will explore how their distinct approaches to figuration and history painting have recast the Western canon and challenged perceptions of race and representation in a contemporary context.»

Although his starting point will be a brilliantly executed copy of the original, his concern is essentially to apply a contemporary painting and sculptural approach to the works as a comment on the original piece.

But taking a craft - centric approach to photorealism is a strange move — one that feels less contrarian than oblivious (and I don't only mean oblivious to the trends in, say, MoMA's survey of contemporary painting.)

Although all of the artists have donated works to help to support the magazine and the development of the art school, this exhibition has been carefully considered to reflect that which is current, significant and critical in contemporary painting, including abstract works by Thomas Nozkowski, Mali Morris and Phil Allen, and painters who have championed a figurative approach such as Chantal Joffe, Neal Tait and Dinos Chapman.

None appear more contemporary in their approach than Kogelnik, whose paintings and drawings from 1964 to ’70 were the subject of this exhibition.

Kardon would like to see the «whatever» attitude so pervasive in contemporary painting today give way to a more rigorous, mindful approach.

We conducted an interview with Grabner via email about the trajectory of contemporary painting, the redemptive art scene outside of New York, and her feminist, artist - first approach to curating the Biennial.

Ranging from large - scale painting to site - specific installation, these commissions spotlight trailblazing artists at different stages of their careers, and reflect the museum's continued commitment to providing an international platform for a wide range of contemporary artists with innovative and experimental approaches to their practices.

The Serpentine displays a selection of her most compelling works — each created in just one day — in celebration of her innovative approach to contemporary figurative painting (to 13 September).

During the late 1940s Jackson Pollock's radical approach to painting revolutionized the potential for all contemporary art that followed him.

On view in the Contemporary Wing from June 29 — November 2, 2014, Front Room: Seth Adelsberger features nearly a dozen works produced over the past five years that demonstrate the artist's innovative approaches to painting.

While much significant work in contemporary painting has taken an ironic approach to this traditional practice, Frecon's work proceeds with unabashed sincerity.

Mara De Luca's works are a reflection on contemporary culture expressed through a diverse, project - driven and contextual approach to painting.

Exhibitions such as Paint Things (January 27 — April 21, 2013) at deCordova Sculpture Park and Museum and Phantom Limb: Approaches to Painting Today (May 5 — October 21, 2012) at Museum of Contemporary Art Chicago have brought together artists working through resuscitated painting traditions to rebrand process, materiality, and form in ways that are not easily Painting Today (May 5 — October 21, 2012) at Museum of Contemporary Art Chicago have brought together artists working through resuscitated painting traditions to rebrand process, materiality, and form in ways that are not easily painting traditions to rebrand process, materiality, and form in ways that are not easily labeled.

As the course develops we consider how these can be applied to more contemporary and personal approaches to painting.

As Alan Gouk pointed out recently, those somebodies often end up being Joan Mitchell and Philip Guston, American painters not without their own flaws, and it is on their account that scores of contemporary abstract artists readily and without question adopt a «hell for leather» approach to paint handling that through its complacency tends to have very familiar results.

Lucas Samaras's original and versatile approach to art making has had a profound impact on developments in contemporary art, creating works which have anticipated dominant trends in painting, sculpture and photography.

With two distinct approaches to contemporary painting, Bresson and Prata mute stylistic expectations in the service of a visual language that has no spoken form; a collection of simplified narratives, signs and symbols that communicate from the silences between words or thoughts.

With the holidays approaching, we have selected winter paintings of famous modern and contemporary artists to set the mood for the season ahead.

Looking at their extraordinary works of art that keep on pushing the boundaries of the medium in intriguing and unexpected ways, we are sure that contemporary painting in the US is in safe hands and is not afraid to allow the different approach of creativity and a different language of their stories.

A rising star in the contemporary art world, Otero is known for his process - based approach to painting, specifically his...

Known for his large - scale painting interventions based on vibrantly patterned Taiwanese textiles, Lin's practice has been hailed as a new approach to contemporary art and the museum through the creation of immersive and experiential environments.

From lavish color illustration examples and interpretation of the subject matter and approach to painting of Georgia O'Keefee, Charles Demuth, Chiura Obata, Mark Rothko, Willem de Kooning, Richard Diebenkorn, Wayne Thiebaud, and Ed Ruscha, the book offers an insight into contemporary production as well by covering the display de Young in San Francisco.

During the late 1940s Pollock's radical approach to painting revolutionized the potential for all contemporary art that followed him.

Open to all media, but contemporary approaches are encouraged, including 2D, 3D, Mixed media, Collage, Painting, Printmaking, Photography, Digital art, Sculpture, Assemblage, Video art, and performance art.

During the late 1940s and early 1950s, Pollock's radical approach to painting revolutionized the potential for all Contemporary art following him.

, Frac des Pays de la Loire, Carquefou, France Projects 70 - Jim Hodges, Beatriz Milhazes, Faith Ringgold, Museum of Modern Art, New York, USA Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago, Illinois, USA Outbound: Passages from the 90's, Contemporary Arts Museum, Houston, Texas, USA ZONA F; An approach to the spaces inhabited by the feminist discourses in contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,Contemporary Art, Chicago, Illinois, USA Outbound: Passages from the 90's, Contemporary Arts Museum, Houston, Texas, USA ZONA F; An approach to the spaces inhabited by the feminist discourses in contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,Contemporary Arts Museum, Houston, Texas, USA ZONA F; An approach to the spaces inhabited by the feminist discourses in contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont,Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, Burlington.

2012 Pothole, Salon 94, New York, NY, United States Cellblock I & II, Andrea Rosen Gallery, New York, NY, United States California, Charles Riva Collection, Brussels, Belgium Spheres 2012, GALLERIA CONTINUA / Le Moulin, Boissy - le - Châtel, France Crossing Mirrors, Rosenblum Collection & Friends, Paris, France Americas, Modern Collections, London, England Sõida tasa üle silla (ride gently over the bridge), ART IST KUKU NU UT, Tartu, Estonia The Mash Up: Collage from the 1930's to present, L&M Arts, Los Angeles, CA, United States Phantom Limb: Approaches to Painting Today, Museum of Contemporary Art, Chicago, IL, United States The Painting Factory: Abstraction After Warhol, Museum of Contemporary Art, Los Angeles, CA, United States, (cat.)

The resulting exhibition is an incisive snapshot of contemporary practice, spanning diverse media, processes, themes, influences and approaches — from moving image and performance to more traditional approaches to making work such as printmaking, painting and sculpture.

This catalogue of outstanding paintings, sculptures, drawings and prints from Edward R. Broida's recent gift of 175 contemporary works from his collection to The Museum of Modern Art reflects a wide range of artistic approaches.

NORTH ADAMS, MASSACHUSETTS — In the Abstract brings together a mix of multi-generational artists whose works represent a potent and muscular approach to contemporary abstraction that adopts and adapts various formal strategies of painting — from hard - edge geometries and dense color blocks to gauzy color fields and expressionist marks — with that of sculpture, photography, digital processes, and video.

Toru Kuwakubo started his artistic practice with a theatrical approach, finding the figure of an imaginary painter within himself as a means to explore contemporary art through the medium of painting.

The contemporary art prize is named after Turner because while today he may be considered one of Britain's greatest traditional artists, in his time his approach to landscape painting was controversial, and often reviled, yet had a lasting impact on art.

This exhibition, which includes paintings, photographs, video and sculpture, examines diverse approaches to portraiture through the work of over twenty contemporary Canadian and international artists including: Stephen Andrews, Shuvinai Ashoona, Barbara Astman, Greg Curnoe, Colin Muir Dorward, Wyn Geleynse, Sky Glabush, Kirtley Jarvis, Jim Kost, Richard Hamilton, Jason McLean, Shelley Niro, Dennis Oppenheim, Gillian Saward, Becky Singleton, Gerard Pas, Jamie Q, Angie Quick, Michael Snow, Jeff Thomas, Joanne Todd and Joyce Wieland.

NEW ORLEANS — Rips, tears, and fissures punctuate the works in Beyond the Canvas: Contemporary Art from Puerto Rico, a group exhibition at Newcomb Art Museum showcasing five artists» process - driven approaches to painting.

Fern Canyon features a selection of drawings and paintings that introduces Sherman's innovative approach to traditional genre, displaying her patent perspectives on contemporary landscape painting.

MCA Pamela Alper Associate Curator Julie Rodrigues Widholm discusses select works in relation to contemporary issues of painting and shares her curatorial approach to the exhibition.

Whilst Sebas Velasco's exceptional body of work includes a wide variety of different themes and techniques, which range from contemporary figurative painting to illustration, multidisciplinary artist Xabier XTRM's work represents a more expressionistic approach to painting, always experimenting his artworks in order to find new ways to express through 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.

Although there are a few overlaps between Hoptman and Siegel's projects (Laura Owens and Mary Weatherford in the exhibition, joined by Amy Sillman in the book), the contemporary work in Pretty Raw is part of a revisionist history that Siegel had already begun to articulate in her 2006 exhibition High Times, Hard Times, where she traced New York painting's turn toward an inclusive approach — in every sense — to the medium during the 1960s and»70s.

The show explores new approaches to abstraction in contemporary painting and runs until 20 June.

Taking a monochromatic grey palette as its organizing principle and aesthetic theoretical vehicle, this exhibition reveals the emergence of that which subtracts or divides — a polemics of black and white or the search for a middle ground, a shade of grey — in the work of artists from around the globe: including Shiva Ahmadi, Yasima Alaoui, Ayad Alkadhi, Afruz Amighi, Reza Aramesh, Shoja Azari & Shahram Karimi, Bruce High Quality Foundation, Dilip Chobisa, Seth Cameron, Arthur Carter, Noor Ali Chagani, Nick Farhi, Nir Hod, Rachael Lee Hovanian, Joseph Kosuth, Liane Lang, Farideh Lashai, Shirin Neshat, Enoc Perez, and Dan Witz, Grisaille: originally derived from a 19th century term for monochrome painting, especially the portrayal of three dimensional objects in two dimensional form, of which the work of British based Liane Lang in this exhibition approaches the closest contemporary example of this art historical origin, the gris or grisaille is updated in this exhibition to reflect the embattled gesture of not simply the monochromatic, but also any opposition to color as such, in at once its aesthetic and political modes.

In 2015, Nathanson was one of six artists in Confronting the Canvas: Women of Abstraction at the Museum of Contemporary Art, Jacksonville, Florida curated by Jaime DeSimone, an exhibition focused on new, experimental approaches to the process of painting.

Art critic Louisa Buck recalls first edition fig - 1 in 2000, painting a picture of the second edition of the project and the changes in the contemporary art world in the intervening fifteen years; Director of the Contemporary Art Society Caroline Douglas explores shifting models of philanthropy and patronage in the arts; Serpentine Gallery co-director Hans - Ulrich Obrist discusses curatorial approaches and the role of the institution with Fatos Ustek; Writer and lecturer Gilda Williams uses the fig - 2 programme as a vehicle to explore language and differing approaches; Tate Modern Curator of performance Catherine Wood dissects the role and impact of contemporary art world in the intervening fifteen years; Director of the Contemporary Art Society Caroline Douglas explores shifting models of philanthropy and patronage in the arts; Serpentine Gallery co-director Hans - Ulrich Obrist discusses curatorial approaches and the role of the institution with Fatos Ustek; Writer and lecturer Gilda Williams uses the fig - 2 programme as a vehicle to explore language and differing approaches; Tate Modern Curator of performance Catherine Wood dissects the role and impact of Contemporary Art Society Caroline Douglas explores shifting models of philanthropy and patronage in the arts; Serpentine Gallery co-director Hans - Ulrich Obrist discusses curatorial approaches and the role of the institution with Fatos Ustek; Writer and lecturer Gilda Williams uses the fig - 2 programme as a vehicle to explore language and differing approaches; Tate Modern Curator of performance Catherine Wood dissects the role and impact of performance?

Combining oil painting and textile collage, the colour palette is very much inspired by a 19th century approach, with Fritz Bornstück working like an impressionist in the field, while at the same time turning the works around to pull them in a decidedly more contemporary direction, inflicting contrasting architecture and items on the classical compositions.