Sentences with phrase «experiencing painting as object»

«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 durationPainting 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 durationpainting / 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.