«The work is invested in discovery and witness in
experiencing painting as object,» says Mack.
Not exact matches
''... because visual
painting can no longer be engaged outside the mediated
experience, what we are given instead are «
painted»
objects, things to encounter, things to purchase, stockpile and trade, in the moment that we look up from our screens... The «
painted»
object finds its meaning not in its being, not
as it's revealed, or in its
experience, but
as it's re-presented, contextualized through other media.
Drawing on his own
experiences and also referencing broader global issues, his diverse practice spanned assemblage works composed of found
objects such
as metal, stuffed animals, discarded clothing, rope and electrical wire, and dramatically textured
paintings,
as well
as muted neo-expressionist works on paper executed in pastels, charcoal and watercolor.
Recent work incorporates furniture, textiles, jewelry, and found
objects as a way to break up the
experience of
painting as a two - dimensional form.
Inspired by the idea of an imagined society in which psychotherapy is a freely available drop - in service, Johnson's installation of large - scale
paintings, hanging plants, Persian rugs and four wooden day beds questions established definitions of the art
object and its limitations,
as well
as the relationship between individual and shared cultural
experience.
Visitors are invited to observe airborne and earthbound geometric constructions saturated in bright colours; examine his Bólides (Fireballs), interactive composite
objects filled with sand and other substances, which were intended to be handled by viewers; dance samba in one of his Parangolés, capes designed by the artist to be worn by the public; play billiard on a pool table that is supposed to send you back to the atmosphere of Vincent Van Gogh's
painting The Night Cafe; and
experience immersive exotic or unfamiliar environments,
as in his installations Tropicália (1967) and Eden (1969).
Featured works — ranging from portraits of emperors and empresses, court
paintings, religious sculpture, and ritual
objects to fine ceramics, bronzes, lacquerware, jade, costumes, textiles, and furniture — will be combined with 3 - D virtual technology and architectural features to offer visitors an immersive
experience,
as if passing through the Forbidden City during the height of its glory and splendor.
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.
Featured works — ranging from portraits of emperors and empresses, court
paintings, religious sculpture, and ritual
objects to fine ceramics, bronzes, lacquerware, jade, costumes, textiles, and furniture — will be combined with 3 - D printing technology and architectural features to offer visitors an immersive
experience,
as if passing through the Forbidden City during the height of its glory and splendor.
The way I've figured to go about doing this through
objects is to always try to surprise myself, decision by decision,
as I build each
painting with the hope that the viewing
experience mimics this process, meaning that I hope that the
painting unfolds, collapses, comes back together and unfolds again in a different way
as the viewer navigates through it.
The
paintings teach a straightforward but profound lesson:
as in Roman cuisine, where the simplicity of means is a way to highlight the extraordinary quality of well - sourced ingredients, Morandi's poetic minimalism shows that the act of looking at even quotidian
objects and spaces can be an extraordinarily generous
experience.
However, not unlike a work of Robert Ryman, Juchtmans is interested in the viewer not only
experiencing the monochrome
as painting, but also
as object.
Painting on sheets of plastic, on the floor, and on clear plastic tubes, to create installations where one is engaged in a continually changing relationship to the image / painting / object, as she put it one experiences «movement and duration
Painting on sheets of plastic, on the floor, and on clear plastic tubes, to create installations where one is engaged in a continually changing relationship to the image /
painting / object, as she put it one experiences «movement and duration
painting /
object,
as she put it one
experiences «movement and duration».
A complex piece in Zaatari's overall oeuvre, Time Capsule not only serves
as a sort of sequel to the artist's earlier video In This House (2005), for which he unearthed a letter buried by leftist militants in 1991 (right after the Lebanese Civil War ended), it also links the
experience of the Arab Image Foundation, which Zaatari co-founded in 1997 (he recently resigned from the organization's board, which inspired the time capsule project), to that of Beirut's National Museum, where dOCUMENTA (13)'s team found the wrecked
objects that are now on view with Adnan's
painting tool in the rotunda of the Fridericianum.
Artist - made chairs, mirrors, photographs, portrait
paintings, magazines and videos,
as well
as works employing wigs, hair, found
objects and posters transplant the barbershop
experience to the gallery setting.
His reductionist
paintings present «everyday
experience not
as objects of reverence but occasions for scrutiny and absurdity» through the use of cheeky text and repeating canvases in array of play - dough colors.
In fact, with their opulence and rich details, her works harken back even further to the excesses of Golden Age Dutch still - life
painting... In delineating her still - life
objects, Fish draws with the
paint in such a direct way the viewer practically feels the artist transcribing what is in front of her; we
experience the decisions
as to how she organizes her compositions.»
In a statement about her work for a recent exhibtion at Cooper Cole Gallery in Toronto, Luloff wrote: «By
painting my close friends and the
objects in my studio I have a special moment of intimacy with them... The act of drawing these items,
as well
as patterns inspired by time spent in India, is a meditation on passing time, on pacifying, and creating a demarcation of my daily
experience in the studio.
At L.A. Louver, a sharply focused show zeros in on LeWitt's capacity to transform abstract ideas into concrete
objects that viewers
experience as slippery interminglings of drawing,
painting and sculpture — while comparing and contrasting such physical entities with idealized images of geometric perfection, which inhabit the mind's eye but never appear in the real world.
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.
«The
painting leaves the studio
as a purist, abstract, non-objective
object of art, returns
as a record of everyday (surrealist, expressionist)
experience («chance» spots, defacements, hand - markings, accident - «happenings,» scratches), and is repainted, restored into a new
painting painted in the same old way (negating the negation of art), again and again, over and over again, until it is just «right» again» (Ad Reinhardt, in: Americans 1963, Museum of Modern Art, NY, 1963).
Robert Ryman's work explodes the classical distinctions between art
as object and
as surface — between sculpture and
painting, between structure and ornament — emphasizing instead the role that perception and context play in creating an aesthetic
experience.
David Bates is a Dallas - based artist known predominantly for his expressively rendered
paintings and sculptures of landscapes, people, and
objects derived from personal
experience to portray universal and timeless themes, such
as the compelling relationship between man and nature.
An abstract
painting doesn't purport to create the illusion of human space, and if it does, it's not really abstract (e.g., Kandinsky's later work); therefore, it runs the risk of being
experienced as a mere
object, like a bad figurative
painting.
A successful abstract
painting must still suspend its own objecthood, but without depicting the kind of space that contains (and thus implies) real or imagined
objects; therefore, it must create a different kind of illusive space, one that we do not imagine physically entering, but nonetheless
experience as real, not necessarily
as objects are real but
as the world itself is real because it's there (i.e., here).
Attempting to locate themselves somewhere between the
painting / apartment, the negative space, and their own bodily
experience as they navigate the virtual space, viewers enter a fourth dimension that goes beyond traditional conventions of a physical encounter with a static,
painted object in space and time.
Green April is a decidedly volumetric
object; the processes, both intensely physical and material, responsible for its creation inform the way the
painting is
experienced as a thing in space.
Taken together, these painterly sculptures and sculptural
paintings constitute a «room» —
as in those childhood rooms of memory — wherein
objects, images, textures, colors, and patterns are
experienced together and yet do not form a whole.
Through a range of works on paper, models and sculptures rendered in a diverse range of materials, the exhibition plots how Clark worked her way along a fascinating trajectory, from the rationalistic art of geometric
painting to a practice focussed on the abstract interactive
object, pointing finally towards a conception of art
as immersive, subjective
experience that animated the latter half of her career.