Sentences with phrase «facsimile paintings»

By exposing the formal construction of his works — paintings of facsimile paintings reproduced on film and in turn photographed from a computer screen — Tuymans at once creates a trompe l'oeil effect in which all media appear simulated, while also exaggerating their technical differences.

Not exact matches

Instead, there are tapestries made by multiplying reflected versions of paintings; close - up photographs of the surface of paintings; mirror - like reflective works; overpainted self - portraits; various grey paintings; photographic facsimiles of the iconic series of 48 Portraits presented in the German Pavilion at the Venice Biennale in 1972 — so returning them to their photographic origins in encyclopaedias; and a spectacular installation of «4900 Colours», 2007.

How are the status and meaning of an artwork — whether an Ancient Greek statue, a digital photograph, or a painting by an itinerant portraitist — altered through the creation of facsimiles, through exhibition, or through the conversion of the object into image or code?

The book brings together Martin's writings, paintings, drawings, and prints, as well as facsimiles of the artist's handwritten notes and letters.

Kazuo Shiraga also features a complete facsimile of the artist's personal scrapbook of photographs documenting his public performances and painting process — a rare treasure never before seen by the public.

A Spectacle in Motion is an upcoming exhibition that will premiere a never - before - seen digital facsimile of the longest painting in America — the 1,275 - foot - long Grand Panorama of a Whaling Voyage «Round the World.

He creates maquettes of the source paintings out of simple materials such as paper, cardboard or silver foil which then serve as models for highly detailed facsimiles in oil paint.

Julian Schnabel: CVJ is a facsimile of the out - of - print Random House edition from 1987, offering a new opportunity to assess Schnabel's influence on younger generations of artists and on the current debates on painting.

To experience Tōhaku's works as though they were in a Buddhist temple, visitors to Japan Society Gallery have the opportunity to sit barefooted and on the floor in close proximity to an uncased, high - quality facsimile of Tōhaku's famous painted pine trees screen.»

Tucked in the back of the second floor is a more demure work, an oversized facsimile of Robert Williams Wood's How to Tell the Birds from the Flowers, smeared with the same fluorescent paint.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.

The Heni editions are referred to by the artist as «facsimile objects»; although they proceed from the Flow paintings, this series is distinct from the originals in a number of ways.

This print transposes Smith's crudely scrawled signature over images of gestural paintings, provoking questions of originality and facsimile.

In the NYTimes, Roberta Smith reports:» If there was any doubt that we live in a reasonable facsimile of the Gilded Age, it disappeared Monday night during «Greeting Card,» Aaron Young's enormous paint - by - motorcycle spectacle in the vast, emptied - out drill hall of the Seventh... read more... «Young stunt»

A limited - edition set of 12 books containing facsimiles of the entire «This Disposable Day Desk Calendar» series, including paintings not featured in the exhibition, accompanies the works on display.

The complexity and strangeness of these forms and arrangements remind us that a painting is always a metaphor, not a facsimile.

This print mounted on aluminum is part of the artist's P series, which the artist describes as «facsimile objects» that are offshoots of his Flow paintings, which were created by capturing poured enamel paints on a glass surface.

The artist's sketches for paintings are reproduced in facsimile.

The» No. 2 / No. 60,000 (yellow, orange, red)» is a pseudo painting facsimile created through the use of an artificially intelligent neural network.

These original paintings on canvas were then bound by hand with the facsimile.

Other contents include a contribution from Philadelphia's Headlong Dance Theater, which relates the process behind the company's highly regarded Cell piece from 2006; facsimile reproductions of 1960s letters from the artist James Lee Byars to MoMA curator Dorothy Miller (the second installment of the Modern Artifacts series, presented in collaboration with The Museum of Modern Art Archives); two more «Guarded Opinions» from guards at the Hammer Museum in Los Angeles — this time offering commentary on paintings by Degas and Gustave Moreau; an anonymous confessional piece about the life of a «decor artist»; a selection of never - before - published map sketches by Michigan artist Neil Greenberg; Angus Trumble's «2001 in Retrospect»; and a found object contributed by Stephen Weyl.

It fails to provide any insights beyond the rather obvious observation that artists use collage differently: compositional studies (Amy Park, Elizabeth Hazan, Alexi Worth), color studies (Bryan Osburn), and close, if not nearly perfect, facsimiles of their paintings (Sangram Majumdar, Trevor Winkfield).

The paintings are enlarged facsimiles of paint chips for colors for domestic exteriors and interiors in «Exterior and Interior Color Beauty», a booklet produced in about 1935 by General Houses, Inc., a manufacturer of prefabricated houses founded by the artist's father, Howard T. Fisher.

Julian Schnabel: CVJ, Study Edition is an accessibly priced, reader - format facsimile edition of the 1987 book, offering a new opportunity to assess Schnabel's influence on younger generations of artists and on the current debates on painting.

The Lichtenstein and Warhol paintings were drawn directly from newspaper ads; facsimiles of these source images accompany the paintings.

These editions are referred to by the artist as «facsimile objects»; although they proceed from the» Flow» paintings, this series is distinct from the originals in a number of ways.

As in his Legends paintings, small - scale works that employ legible symbols and graphic relationships as linguistic antecedent, Bosmans translates the mythic signification of these cultural relics into plastic materiality through facsimile and abstraction.