Sentences with phrase «engaging early paintings»

Some of his most engaging early paintings are jokes about abstract art.

Not exact matches

Paintings and prints frequently carry particular meaning within Petzold's films, as examples of the ancient tradition of ekphrasis, probably none more so than in Phoenix's immediate predecessor Barbara (2012) with its conspicuous Rembrandt print, but likewise in much earlier works like Die Beischlafdiebin (The Sex Thief, 1998) with a Gerard Richter on the wall — another artist conspicuously engaged with multiple forms of peculiarly German afterness.4

The exhibit will include stunning hyper - realistic work by Churchill - Johnson — stark political statement contrasted with delicate, minimalist abstraction by Uyesaka — deeply engaging abstract oils by Scorzelli — dynamic and powerful ceramic insights by Rosenberg - Dent — fanciful, abstract adventures by Lehrer — an unsettling mixed - media installation with video by auto - expressionist, Metrov — striking figurative vs abstract works by Ferris — a lively «abolish blandness» painting by Lytle contrasted with fabulous yarn work from the early 90's — and a pair of McCracken's, always delightful, miniatures.

Once the seven paintings by Martin, from the 1960s through the early 2000s, are installed and lit, Tuttle will create new wire pieces that respond to the paintings and engage with the distinct light and shadow of their illuminations.

Johns» early works, like Rauschenberg's Combines, engage with the vocabulary of AbEx painting.

During the last four years of his life Martin was engaged in a trilogy of large paintings of biblical subjects: The Last Judgment, The Great Day of His Wrath, and The Plains of Heaven, of which two were bequeathed to Tate Britain in 1974, the other having been acquired for the Tate some years earlier.

Wool's paintings about painting were engaging, gaining praise and collectors early on.

Many of his early works took the form of conceptual photography, though Johnson eventually expanded his practice to include wall - based works that engage the legacy of painting, sculptural installation, and assemblage using manufactured materials like shea butter, books records, and incense.

Peter Schjeldahl writes in the October 9th, 2017 issue of The New Yorker, «The happiest surprise in Trigger is a trend in painting that takes inspiration from ideas of indeterminate sexuality for revived formal invention... Christina Quarles... rhymes ambiguous imagery of gyrating bodies with dynamics of disparate pictorial techniques... The wholes and parts of bodies in Quarles's cheerfully orgiastic pictures entangle in alternating styles of line, stroke, stain, and smear... called to mind early nineteen - forties Arshile Gorky and Willem de Kooning, who fractured Picassoesque figuration on the way to physically engaging abstraction... Quarles playing that process in reverse, adapting abstract aesthetics to carnal representation.

This installation, drawn from the Museum's collection of paintings by Ad Reinhardt and Mark Rothko, focuses specifically on the fertile years between the late 1940s and the early 1960s, during which each artist identified the style and format that would engage him for the rest of his career.

March 7, 2008 — ongoing This installation, drawn from the Museum's collection of paintings by Ad Reinhardt and Mark Rothko, focuses specifically on the fertile years between the late 1940s and the early 1960s, during which each artist identified the style and format that would engage him for the rest of his career.

The painting, which was executed in 1998, is one of the most important early statements of McKenzie's politically and socially engaged practice.

Having emerged in New York's East Village Art scene in the early «80s, Peter Halley's geometric paintings have been engaged in a...

In Untitled (Suite «Blancs»)(1973), Hantaï also engages both sides of the canvas, using the back of an earlier oil painting as his support; faint color patches from the original work are visible within the colorful pattern, fulfilling the artist's desire to «draw out the qualities of the reverse.»

Since the early 80's, Peter Halley's geometric paintings have been engaged in a play of relationships between what he calls «prisons» and...

In 1968, she began creating her «Fallen Paintings» by pouring brightly colored latex in overlapping flows directly onto the floor, critically engaging with earlier painters like Jackson Pollock and Helen Frankenthaler.

Her early paintings revolve around a central protagonist: a tomboy heroine engaged in various physical activities associated with youth set against an empty backdrop.

Much like her early contemporaries John Currin or Elizabeth Peyton, Owens bucked trends by simply engaging with painting.

The artist engages in a complex visual legacy that stretches across multiple genres, as the painting references its own source material while at the same time paying homage to the comic - book appropriation of earlier artists like Roy Lichtenstein and Andy Warhol.

Since the early 80's, Peter Halley's geometric paintings have been engaged in a play of relationships between what he calls «prisons» and «cells», icons that reflect the increasing geometricization of social space in the world in which we live.

Over the past two years, Baselitz has engaged in a reworking of his early paintings — using a more direct style, a lighter and quicker manner, in large formats.

They are less titillating than Ms. Semmel's earlier work, but together they create a coherent conceptual project that is also — as one would expect from a painter who started off as an abstract expressionist — still highly engaged with the tactility of paint and the possibilities of color.

There, he exhibited large abstract sculptures, such as Early One Morning (1962), which were brightly painted and stood directly on the ground to engage the spectator on a one - to - one basis.

On the two side walls the viewer can engage with Mosset's monochromes and symbolic geometries: on one side an immersive blazing large orange canvas painted in the early 2000s, on the other a lengthy white surface Patricia's Pillow (1985), where a long bright yellow line harshly yet lightly crosses a white surface.

Acknowledged as an early contributor to post-Internet art, Cortright has since moved to the forefront of digitally based painting practices, developing its unique language in both analog and digital contexts and engaging in conversations around the history of painting and the influence of technologies on its evolution.

He was particularly engaged by the relationship between painting and sculpture, which had not been at the center of his earliest work.

Inspired by early American figurative painting, Mequitta Ahuja's huge portraits critique and engage the tradition of painting and the greater art historical canon.

Entering the New York art world in the late 1960s and throughout the 1970s, Diao first engaged, in his early work, in the complex position of painting in the aftermath of the Abstract Expressionists and the formalist critical debates that followed them, successfully pushing painting into conceptual territory while allowing him to deal with aesthetics, history as well as personal narrative in his painting.

Rhode's street acts, in which he chalks or paints stationary objects on walls, and then engages with said objects, are energetic narratives, aggregates of Rhode's scholarly references to early performance, action and street - influenced art — Vito Acconci, Jean - Michel Basquiat, the Japanese movement gutai — and to his own specific upbringing in post-apartheid South Africa.

Directly following a series of solo exhibitions in Europe and barely in advance of his exhibitions at the Zitadelle in Berlin and the Baker Museum in Florida, Obscure Line Between Fact and Fiction not only indicts contemporary culture's media - driven simulacra, obscuring a perception of the real, but also and moreover, in painting, multi-media, and sculptural form, sounds a stirring battle cry against the miscarriages of justice of the early 21st century through an expressive and engaged aesthetic, arguably unseen in American art since Rauschenberg or Basquiat.