Sentences with phrase «contemporary practices of painting»
MassArt's 2D graduate program blends both traditional and contemporary practices of painting, drawing, and printmaking.
https://massart.edu/
As the contemporary practice of painting continues to expand exponentially, with many artists becoming less concerned with the physical medium of paint itself, Cain's practice — a combination of control, happenstance, and environmental information — is made unique through its reliance on space and the structural conditions of the locations in which her work is exhibited.
Not exact matches
The pigment palette used was consistent with that used by Velazquez and his contemporaries in 17th century Seville, she said, as was the material combination practices like the use of certain pigments together and the use of paint to create volume on the paintings.
«Madder dye extracted from roots was often used to color textiles and leather in ancient Egypt, and we see from the chemical mapping of the portrait that the artist chose to paint the noblewoman's dress with madder lake pigment, thus imitating contemporary practices.»
View works by contemporary Ubudian artists as well as traditional schools of art such as Batuan — practiced by Brahman artists — and Sanur, which features highly stylized paintings of sea creatures and other animals.
painttube is connected to an expanding network of Irish and International painting groups delivering events that explore painting in contemporary visual arts practice.
painttube is a research group of staff and post graduate students at the National College of Art and Design, in Dublin, who are engaged and interested in painting within contemporary fine art practice.
«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.
As Richter explained, «landscapes... show my yearning... But though these pictures are motivated by the dream of classical Order and a pristine world — by nostalgia, in other words — the anachronism in them takes on a subversive and contemporary quality» (Gerhard Richter, «Notes 1981», The Daily Practice of Painting, London, 1995, p. 98).
Because of the mass appeal of Hockney's Royal Academy Exhibition, the iPad paintings have unfortunately been branded by popular criticism and media as the epitome of contemporary art practice, fuelling the delusions of those who unwittingly consider landscape painting to be one of the few modes of visual art.
Murillo's huge and physically enveloping canvases (seen at Art Basel 20135), echo familiar threads through contemporary fine art painting practice — the energetic gestures and scribblings of Cy Twombly, the haptic scruffs and mixing of materials of Antoni Tàpies and Anselm Kiefer, the calling out (in script) of Colin McCahon6 and the drawing, foodstuffs and performances of Joseph Beuys and William Pope.L.7
Its principal focus is the representation of an international group of contemporary artists whose diverse practices include painting, drawing, sculpture, video, photography, and performance.
Whilst taking Neel's work as a point of reference, the exhibition aims to open up possibilities for reading figuration and portraiture in contemporary painting, to assert the continued relevance of these modes of practice, and to re-consider Neel's work in relation to artists working today.
Like ballroom dancing, painting continues alongside more contemporary practices, and within the (in) discipline of painting representation and abstraction co-exist.
The exhibition comprises a broad range of works across a variety of mediums — including painting, performance, photography, sculpture, video, and web - based projects — that all investigate the extensive effects of the internet on artistic practice and contemporary culture.
The major group exhibition Believe not every spirit, but try the spirits takes as its departure point the art of forgotten Victorian - era Spiritualist Georgiana Houghton (1814 - 1884), and features contemporary and historical painting, sculpture, video and photography that both explore and adopt Spiritualist practices and methodologies.
The fidelity of these paintings can therefore be best understood, perhaps, as a product of a particular situation, when a significant body of contemporary artistic practice was orientated to accurate observation, as opposed to the ideal.
The contrast between the reclaimed «artistic» waste and the richness of the paint highlights a dynamic tension between Ruby's contemporary practice and the early - modern belief in the supremacy of «pure artistic feeling» over the visual depiction of objects.
«Kerry James Marshall: Painting and Other Stuff,» the first comprehensive survey of his practice, is on view in Antwerp, Madrid, Copenhagen and Barcelona (and includes a catalog); «Look See,» his first exhibition with David Zwirner Gallery, his representative in London, opens; and he receives the Wolfgang Hahn Prize for contemporary art from the Museum Ludwig in Cologne, Germany.
A departure from Wiley's practice of painting anonymous sitters, these portraits include a select group of extraordinary contemporary artists ---- Derrick Adams, Sanford Biggers, Nick Cave, Rashid Johnson, Glenn Ligon, Kerry James Marshall, Wangechi Mutu, Yinka Shonibare, Mickalene Thomas, Hank Willis Thomas, Carrie Mae Weems, and Lynette Yiadom - Boakye.
The first solo show in an Italian museum of Chinese artist Ding Yi will propose a journey of about forty paintings and drawings, a sculpture and an installation that requires the interaction of visitors, which aims to bring the public closer to the man considered to be the most important abstract painter in contemporary China, by presenting his complex artistic practice and evolution from the nineties to the present day to the public.
One of the most original voices in contemporary Brazilian art, Adriana Varejão's diverse practice comprises painting, sculpture and installation.
Recent publications include «I'd Rather Be Here and Now: The Performative Verb of Painting — An Interview with Anoka Faroqee» in X-TRA Contemporary Art Quarterly, and «Farm Fresh Art: Food, Art, Politics, and the Blossoming of Social Practice» in Art Practical.
Characteristic of his practice, Il Lee continues to find new ways to expand the boundaries of contemporary drawing and painting.
Similar to the practice of formal sculpture, Otero makes work that have a presence within the long - standing dialogue extracted regarding contemporary painting, while communicating with the past.
Through paintings, drawings, sculptures, installations and documentation, the exhibition will trace the development of Ibrahim's practice and its enduring influence on contemporary art in the UAE.
Its principal focus is on the representation of contemporary artists whose diverse practices include painting, drawing, sculpture, video, and photography.
One of the most original voices in contemporary Brazilian art, Varejão's diverse practice comprises painting,...
Nusra Qureshi is trained in the art of the Mughal miniature painting tradition and has developed an extraordinary contemporary painting practice that engages with the rich, visual histories of South Asia.
Their artistic practice spans diverse media including film, photography, painting, performance, and site - specific projects.Vătămanu and Tudor's broad - reaching practice has positioned them among the most compelling and literate interpreters of our contemporary post-communist condition, which extends far beyond their native Romania.
Pratt Institute's M.F.A. Painting and Drawing Curriculum offers students a broad but rigorous studio practice, highlighting students» individual development and focusing on an understanding of the significant concerns that constitute contemporary art today.
Albert Oehlen (Commencement Speaker) is an acclaimed contemporary German artist whose practice is in the vanguard of postmodern painting.
Drawing on the ideas explored in one of our current exhibitions Painting in the 2.5 th Dimension, the panel of leading artists, writers and curators will discuss contemporary painting practices that rethink the conventional mediums of the disPainting in the 2.5 th Dimension, the panel of leading artists, writers and curators will discuss contemporary painting practices that rethink the conventional mediums of the dispainting practices that rethink the conventional mediums of the discipline.
Ashley Bickerton's vibrant and often dystopic vision of contemporary culture has been at the center of his four - decade - long practice, which includes painting, photography, sculpture, and every possible combination therein.
Installation view of works by Simon Ingram June 2 — July 29, 2007 Curated by Tina Barton, Four Times Painting at the Adam Art Gallery, Wellington, New Zealand, focuses on the work of four contemporary New Zealand artists, who each critically engage with the history and practice of pPainting at the Adam Art Gallery, Wellington, New Zealand, focuses on the work of four contemporary New Zealand artists, who each critically engage with the history and practice of paintingpainting.
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.
Their current work explores the relationship between contemporary art making practices and the historical tradition of romantic landscape painting.
Indira Allegra, artist indiraallegra.com Beth Bird, documentary filmmaker and PhD candidate in the Department of Film and Media at the University of California, Berkeley Robin Clark, Director of the Artist Initiative, San Francisco Museum of Modern Art Gregory G. Geiger, artist gregorygeiger.net Maria Elena González, artist and associate professor, Sculpture and New Genres at the San Francisco Art Institute Tim Hyde, artist and assistant professor, Department of Art and Art History, University of California, Davis timhyde.info Amanda Hunter Johnson, conservator, San Francisco Museum of Modern Art Tomoko Kanamitsu, program associate, Higher and Continuing Education, Education and Public Practice, San Francisco Museum of Modern Art Emily Liebert, associate curator of Contemporary Art, Cleveland Museum of Art Peggy Phelan, Ann O'Day Maples Chair in the Arts, Professor of Theater & Performance Studies and English, Stanford University Sarah Roberts, Andrew W. Mellon Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art Kaeleigh Thorp, graduate student in Museum Studies at the University of San Francisco Meredith George Van Dyke, curatorial assistant, Painting and Sculpture, San Francisco Museum of Modern Art John Zarobell, associate professor and undergraduate director of International Studies at the University of San Francisco
Indira Allegra, artist Beth Bird, documentary filmmaker and Ph.D candidate in the Department of Film and Media at the University of California, Berkeley Robin Clark, director of the Artist Initiative, San Francisco Museum of Modern Art Gregory G. Geiger, artist Maria Elena González, artist and associate professor, Sculpture and New Genres, at the San Francisco Art Institute Tim Hyde, artist and assistant professor, Department of Art and Art History, University of California, Davis Amanda Hunter Johnson, conservator, San Francisco Museum of Modern Art Tomoko Kanamitsu, program associate, Higher and Continuing Education, Education and Public Practice, San Francisco Museum of Modern Art Emily Liebert, associate curator of Contemporary Art, Cleveland Museum of Art Peggy Phelan, Ann O'Day Maples Chair in the Arts, Professor of Theater & Performance Studies and English, Stanford University Sarah Roberts, Andrew W. Mellon Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art Kaeleigh Thorp, graduate student in Museum Studies at the University of San Francisco Meredith George Van Dyke, curatorial assistant, Painting and Sculpture, San Francisco Museum of Modern Art John Zarobell, associate professor and undergraduate director of International Studies at the University of San Francisco
Eric continues to participate in the dialogue of Western painting while being fully conscience of the issues in the contemporary practices.
Notable group shows include «Variations: Conversations in and around Abstract Painting», curated by Franklin Sirmans, Los Angeles County Museum of Art, LA, CA; «Making Sense: Rochelle Feinstein, Iva Gueorguieva, Dona Nelson, Deborah Grant» curated by Margaret Miller, USF Contemporary Art Museum, Tampa, FL; «Graphicstudio: Uncommon Practice at USF,» curated by Jade Dellinger, Tampa Museum of Art, Tampa, FL; «Desire,» Pasadena Museum of Art, Pasadena, CA.
Fuelled by the Southern California surf culture of his youth, and the history and contemporary practices of abstraction, John Bauer produces abstract paintings that channel the infinite potential of both the Pacific Ocean and abstraction itself.
Join artist Polly Apfelbaum and art historian Faye Hirsch in exploring how the printmaking process sparks a spirit of inquiry and experimentation in the studio, and delve into the intersection between printmaking and painting in contemporary practice.
Explorations in oil, acrylic and mixed media as well as analysis of contemporary practices lead to students developing personal strategies in painting.
Not only is this book an overview of contemporary painting, it is also an enquiry into how we experience its images, what they mean and why the practice remains vital.
In the context of contemporary painting, Larmon's work can be seen as linking two related practices.
Based in Los Angeles since the early 1970s, Jackson has expanded the definition and practice of painting more than any other contemporary figure.
David Richard Contemporary is pleased to present Elusive Transparencies, a retrospective exhibition of paintings by Julian Stanczak focused exclusively on his illusory «see - through» abstractions, which have been at the core of his art - making practice for the past five decades.
In this exhibition six contemporary abstract painters — Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool — were asked to select one or two of their recent paintings to be shown alongside works by other artists who have had a significant impact on their thinking and the development of their practice.
He is contributing editor for Per Contra — The International Journal of Arts, Literature and Ideas, and has written two books on the history of painting: Alla Prima: A Contemporary Guide to Direct Painting and Color: Its Traditions and Practice in Ppainting: Alla Prima: A Contemporary Guide to Direct Painting and Color: Its Traditions and Practice in PPainting and Color: Its Traditions and Practice in PaintingPainting.