Sentences with phrase «cultural landscape painting»

[vii] Although Arneson puzzled over the reaction of personal offense, it makes sense given the cultural landscape painted by Fineberg.

Not exact matches

Good for hitting multi cultural approaches in painting - a lesson with a starter to focus students on different approaches to landscape painting in different countries around the world.

In what is certain to be one of the most talked - about fiction debuts of the year, Yasmin Crowther paints a magnificent portrait of betrayal and retribution set against a backdrop of Iran's tumultuous history, dramatic landscapes, and cultural beauty.

Conrad Tokyo's design draws its inspiration from two distinct features of the Japanese cultural landscape: Sumie, majestic black and white paintings, and mon, the entranceways to dwellings or shrines.

Magical Huaraz program is a complete tour which contains elements of the region's main cultural and natural circuits, starting with the delightful city of Huaraz, journeying along the Callejón de Huaylas, visiting Chavín de Huántar, contemplating the snow - capped Mount Pastoruri and lagoons, crossing the White Cordillera, through the Tunnel of Cahuish, going on a hike on the glacier, observing the famous Phuyas de Raymondi which are naturally gaseous water pools, ancient paintings on rocks, and we'll have a chance to enjoy beautiful landscapes and thermal baths, appreciate local handicraft and taste the exquisite regional gastronomy.

Marcy Brafman May 15 — June 7, 2008 Marcy Brafman's paintings deal with the dark and light of the cultural landscape and the nature of character.

This conflation of classicism and the contemporary vernacular is reminiscent of Philip Guston's late painting, equally in debt to Quattrocento painting and the cultural landscape of mid-century America.

Composed from amateur footage taken by Abraham Zapruder and subsequently published in Life magazine, Laing's shaped - canvas painting highlights the international fascination with America's cultural revolution and the ways in which it could shift the political landscape.

The appearance of Albert Bierstadt's landscape Mountain Scene (1880 - 90) in both The Age of Innocence (1993) and The Hunger Games (2012) serves as the basis for Mathis Gasser's Grasshopper (Mountain Scene)(2015 - 16), in which he reproduces the original painting twice and hangs the pair beside a screen playing footage from the 2015 - 16 TV adaptation of Philip K. Dick's Man in the High Castle, a series that deals with the role of cultural artefacts in imagining counterfactual histories.

These works continue the artist's inquiries into landscape painting, mining, the connections between the cosmos and the subterranean, and the cultural significance of gold.

Painting, photography, construction and most especially all the hybrids in between conventional genres are pursued in this collage survey, with artistic intentions from the narrative to the minimal and modernist, landscape, portrait, cultural motif, abstract expressionism, formal poetics, nostalgia, emotion, and technical bravado.

The works reflect Song's intervention and satire of traditional art, integrating the humble cultural material of food with the elegance of traditional Chinese landscape painting.

African Root, American Fruit: Paintings by Ronald Jackson February 7 — April 30 Elegba Folklore Society's Cultural Center Ronald Jackson paints portraits and figurative works to comment on the identity of African American people and their influence on the landscape of American society.

The Korean Cultural Center Washington, D.C. proudly presents The Sun, the Moon, and the Lotus, a new exhibition of contemporary works by Jeon Soo - min that reinterprets traditional Korean landscape and folk paintings to create a modern vision of oriental art.

In the post-war Los Angeles of the early 1950s, where the movie industry dominated the cultural landscape like a colossus, sucking up all the oxygen, a stirring began in the visual arts that was to define a uniquely original, and uniquely American contribution to the painting and sculpture of the past 65 years.

Schirm's personal landscapes influence his painted ones — from downtown LA to Vietnam to the countryside of Western New York, his work has continued to address social, cultural, and environmental abuses.

Past recipients of the J. Paul Getty Medal have included Harold Williams and Nancy Englander, who were honored for their leadership in creating today's Getty; Lord Jacob Rothschild, for his leadership in the preservation of built cultural heritage; Frank Gehry, for transforming the built landscape with buildings such as the Walt Disney Concert Hall; Yo - Yo Ma, for his efforts to further understanding of the world's diverse cultures; Ellsworth Kelly, for paintings and sculptures of the highest quality and originality; Anselm Kiefer, painter and sculptor noted for his powerful work and complex subject matter; and Mario Vargas Llosa, Peruvian writer, politician, journalist, college professor and recipient of the 2010 Nobel Prize in Literature.

Raised in San Diego, Tijuana, and Los Angeles, Rodriguez's paintings capture moments of transformation in the social and cultural landscape of Los Angeles.

Her paintings capture moments of transformation in the social and cultural landscape of Los Angeles, with a focus on themes of the persistence of place, activism, and physical and cultural regeneration.

This insecurity about cultural signifiers filters through into much of our «abstract» painting as well, which feels compelled to reference the Australian landscape in order to deliver meaning.

His last painting exhibition was «from landscape to abstraction,» held at the Cultural Institute of Providencia, Montecarmelo in 2008.

His work focuses on both landscape image as cultural symbol and landscape painting as a cultural signifier.

Absent the Postwar malaise, Existentialist angst, and Surrealist bent that shaped the cultural context of Action Painting for the New York School, the uniquely American reference of landscape in Abstract Expressionism is perhaps more visible on the West Coast, especially in the work of Jack Jefferson, Frank Lobdell, and Charles Strong, the artists most heavily represented in the show.

Havell's work, (who also created many of the landscapes for Audubon's famous birds) includes panoramic publications and paintings of the Hudson River and the Thames like other artists in this exhibition such as Thomas Cole (Father of the Hudson River School), and noted artists Jasper Cropsey and John Kensett, who favored the chain of cities, suburbs, and countryside along these two rivers, where horizontal planes and historical associations gave form to both artistic and cultural expression.

Inspired by the fear and panic engendered by the terrorist attack of September 11, 2001, the Museum of Art Rhode Island School of Design's upcoming exhibition, Nancy Chunn: Chicken Little and the Culture of Fear, is a series of paintings that represents the media sensationalism infecting our current political and cultural landscape, feeding our anxieties and distracting us from dealing with real dangers.

Geraint Evans makes paintings that explore the idea that landscape is largely a social and cultural construct, depicting the way in which nature is shaped and fabricated in high streets, shopping malls and the suburbs; in theme - parks, gardens and national parks.

Above, Las Vegas — based artist Justin Favela uses the familiar multicolored tissue paper of piñatas to create landscape paintings and sculptural constructions that exaggerate and critique cultural stereotypes by examining their absurdities.

The other artists in this exhibition work in a variety of media, including photography, performance, painting, sculpture, installation and video, and address diverse issues relating to the socio - political and cultural landscape of their respective environments.

While many artists of his generation such as Andy Warhol and Tom Wesselman have used the popular image to explore the cultural landscape, Wesley has employed a comic strip style and a compositional rigor to make deeply personal, often hermetic paintings that strike at the core of our most primal fears, joys, and desires.

While many artists of his generation have used the popular image to explore the cultural landscape, Wesley has employed a comic - strip style and a compositional rigor to make deeply personal, often hermetic paintings that strike at the core of our most primal fears, joys, and desires.

While on the one hand Cooke's imagery presents the possibility of a depleted cultural landscape, it also projects an air of curiosity about the future of painting and an acceptance of the ironies that can create beauty out of desolation.

The paintings meander through various systems of knowledge and representation such as Tantric iconography, a landscape in the isolated dictatorship of North Korea, illustrations of cellular generation and radical cultural histories seen through the lenses of fellow artists Emily Roysdon and Cameron Rowland.

Her work combines diverse cultural influences, including Asian landscape painting, calligraphy, and imagery from Western popular culture.

The success of Mull's paintings resides not simply with their capacity to invoke the period, but their ability to elicit our abiding nostalgia for its American dream, which has somehow survived and continues to shape the cultural landscape — if only at the level of personal myth so affectingly portrayed in Mull's Fatherly Advice (2014).

Dobrowsky's vivid landscapes and genre paintings had a significant effect after the cultural sterility of the Nazi era.

Using mixed media like oil, watercolor and pencil, he creates hauntingly evocative paintings that allude to the surrealist beauty of Cuba's changing cultural landscape.

From Terry Svat's work that is a reminiscent of Lascaux cave pictographs by creating the idea of packing up, moving on, a new freedom, Pauline Jakobserg and her constructing narratives that confront cultural memories, Felisa Federman depicts nature connected with folk legends, Miguel Perez Lem landscapes evoking the grandeur of the Andes Mountains and Nancy Nesvet beautifuly paints the threatened future of glaciers and wildlife.

Munster, consisting of counties Clare, Cork, Kerry, Limerick, Tipperary and Waterford, has a rich cultural heritage of Celtic artifacts, landscape painting and stone sculpture, as well as a modern infrastructure including numerous important museums and arts centres in Cork, Limerick and Waterford.

The third show in a series on Hudson River School paintings from the collection argues that the idea of an American landscape filled with «sacred» sites is as much a cultural invention as it is an accident of nature.

Terry Svat by imaging pictographs reminiscent of Lascaux cave drawings, Pauline Jakobsberg by constructing narratives to confront cultural memory, Felisa Federman by depicting folk legend concerning natural and landscape, and the negation of people's personalities by standardization, Miguel Perez - Lem who paints contemporary landscapes relating to agricultural memory in Latin America, Nancy Nesvet who paints seascapes of degrading glaciers and animals whose future is threatened.

New drawings made with India ink on reflective chromed panel from the series Golden, which includes a large - scale triptych measuring more than three and a half meters, continue Fernández's inquiries into materiality and mining, traditional landscape painting and the cultural significance of gold.

The realities of the American «sexual revolution,» prompted her to turn her practice towards figuration with a series of «sex paintings» with the intention of exploring female autonomy and sexuality amidst the cultural landscape of Second - wave Feminism.

Structured as a non-linear narrative of painting, sculpture, video and site - specific installation, the exhibition fantasizes the cultural aftermath of the colonization of Mars, establishing an abstract link between the politically stuck and contradictory state of the present - day Earth and the physical reality of the Martian geographical landscape.

A new set of drawings, sculptures, paintings and video work explores the rat wheels of our consumer cult, the ever - tightening noose of technology, our absurd political landscape, the high - jacking of religion for political gains, and the merciless influence of big money onto our political and cultural institutions.

Their landscape paintings are considered among Canada's most important cultural treasures, yet one that has never before been seen in the Netherlands.

Whereas previous bodies of work explored the landscape as a site of conflicting cultural and political viewpoints, the artist's latest paintings move deeper into explorations of abstraction and the expressive possibilities of paint.

Also on view is Keith Mayerson: My American Dream, a salon - style show presenting 100 + paintings ranging from landscapes to portraits of cultural icons and the artist's family that offer a progressive view of American values.

While many artists of his generation have used the popular image to explore the cultural landscape, Wesley has employed a comic - strip style and compositional rigor to make deeply personal, often hermetic paintings that strike at the core of our most primal fears, joys, and desires.

Zigzagging across distant cultural landscapes, the exhibition exposes local avant - garde practices and highlights international affinities, which indirectly question the centrality of painting, art history, and language paradigms.

The Metamorphosis exhibition provides an insight into the relational structure of James Welling's oeuvre and ranges across such traditional genres and styles as portraiture, landscape, abstraction and documentary, and thereby also touches on other cultural disciplines such as painting, architecture, sculpture and dance.