Sentences with phrase «facture of»

In her mark - making, the lush facture of her work can be related to vanguard practitioners of 80s abstraction such as Bill Jensen, David Reed and Mary Heilmann.

A large footed bowl from 1881, for example, features a pair of lively crabs entangled near its lip, their delicate modeling in contrast to the brutish facture of the bowl and the splash of greenish - black glaze over its otherwise unglazed surface.

The choice is dictated to some extent by the fact that Newman worked at times with extreme formats — canvas widths fluctuating between 18 feet and 1 1/2 inches — which defy appropriate reproduction, particularly in this medium, as does the subtlety of the facture of his paintings.

Abstraktes Bild is painted and carved, so to speak, out of ribbon - like strokes and the scraped facture of the surface.

Taaffe's second show with this gallery finds him reasserting his powers of scale, complex Miró and Paleolithic pictographic structure meets Islamic design and alien worlds of floating shape, but as much as I adore some of these new works (especially Choir and Glyphic Field), I myself am missing the one last layer of the paperlike auras and palpable facture of his work from so long ago.

Where many artists of the Finish Fetish school eschewed the material facture of their works, DeLap has almost always chosen to construct his work himself, meticulously producing freestanding sculptures in aluminum, fiberglass, lacquer, Plexiglas, resin and molded plastics and fabrics.

Fishermen at Sea, by contrast, did not rely upon accurate detail or patriotic sentiment to attract an audience, but rather drew attention to the facture of the painting itself.

Although these drawings have the crisp facture of computer - generated diagrams, they are carefully handdrawn using ink and templates the artist projected and cut especially for this series.

Not exact matches

«The Facture site is going through a major upgrade programme, which will significantly increase both the output and quality of the kraftliner we produce.»

Smurfit Kappa Paper & Board Europe COO Laurent Sellier said: «The Facture site is going through a major upgrade programme, which will significantly increase both the output and quality of the kraftliner we produce.

i suppose playing home could be big facture on the end result hope we win and give our youth much needed game time and some of our senior players to who have been on the bench.

Factured surface of the sleeve facilitate steady grip and the sleeve has great thermal insulative properties keeping the milk warm for long.

Luigi Dude you are forgetting that last year Xbox One and PS4 had nothing to speak of and still sold quite well this year they are getting their big hitters and theirs will probably get them far more momentum than those fanbase facturing niche games Nintendo is releasing.

Recurrent throughout 8 Painters are stylings on past painterly marks and movements, not so much placed in quotations as absorbed into a work's facture... It's a hopeful sign that the artists in [the show] demonstrate a critical distillation of influences that inform their particular sensibilities, philosophical outlooks, and relationship to materials — not making any great claims, just proceeding in a personally deliberate way.»

More facile interpretations of the latter half of this characterization have positioned Reinhardt as a proto - Minimalist, citing his pioneering use of many of the movement's shibboleths: modularity, seriality, monochromy, impersonal facture, etc..

There's no evidence of facture; the paint, you think, has soaked seamlessly into the linen support; these must be riffs on Color Field Painting, sans the bright colors, late iterations of stripe paintings in the mode of Kenneth Noland and Gene Davis.

He sticks to facture and the limits of perception.

I am currently using more traditional art materials like paper, ceramics, paint, and wood but have also, and continue to use landscape materials bacteria and more contemporary means of facture like digital modeling and production.

Like Levine, Bidlo works from reproductions, the means through which the modernist canon has been broadcast and maintained, but his reliance on hand facture produces a certain slippage between the appearance of the original and that of the re-creation.

Christopher Bedford writes that «Many of the most challenging painters working today — Dana Schutz, Daniel Dove, Lisa Sanditz, and Tom McGrath, for example — are disparately engaged with one central (albeit multifaceted) question: What is at stake in negating intelligible mimetic imagery with passages of pure facture and, inversely, in undermining the autonomy of materials and process with overt images?

Guston's abstract paintings have been compared to Impressionist paintings by Monet and Pissarro because of their atmospheric appearance and painterly facture.

He thrives on the contradictions of pictorial facture.

For years leading up to this body of work he had undertaken a ruthless process of renunciation, stripping away practically all the tools at the artist's disposal, including color, contrast, facture, and shape — never mind representation, marketability, or «self - expression.»

There is Frank Stella's workaday application of paint in stripes of a regular modulated width, avoiding expressionistic facture.

The affect reeks with a kind of abdominal essence, a respite from the normative facture found in earlier paintings.

Since the New York School were primarily abstract painters, there is no direct address to the subject of drink in their works, although the urgency of brushstroke and facture often seem to be invoking an internal drama of intoxication, disinhibition and released authenticity.

«A complex painting would be one capable of including many spaces... many qualities of light, of texture, of facture, a wide gamut of colors; it would allow for descriptive representation, schematic or symbolic representation, for geometric and gestural abstraction; and these would not simply coexist, but would somehow be coordinating... and out of multiplicity would arise the work's sense of meaning.»

And so despite the substantial number of non temporary three dimensional sculptural objects he's produced - particularly over the last half - dozen years - I've always tended to regard him more as a maker of scenarios than of things, and his project as one devoted to performance and its documentation rather than to conventional facture.

It is not known if Untitled [glossy black painting] was produced as part of the first or second campaign.8 But the work's facture resembles that seen in paintings associated with the first group, such as the Whitney Museum of American Art's Untitled [glossy black four - panel painting](fig. 4), and it explores the ambiguities of «monochrome» in ways that seem more closely tied to the abstract expressionist project than to the later paintings» concern with the degradation of materials, an interest often linked to Rauschenberg's 1953 visit to Alberto Burri's (1915 — 1995) studio in Rome.9

For me, it is fascinating to study Pousette - Dart's facture in correlation to digital aesthetics at the dawn of the computer age.»

The atmospheric tonal shading and variegated facture here allude to the literal depiction of tree trunks and palm fronds.

When coated with paint, the cheaply produced newsprint buckled, creased, and roiled in unpredictable ways, effecting a highly variegated, slightly shimmering surface that caught the shifting light and shadows of its environs and produced an elegant study in the interrelated categories of «structure, texture, and facture» 8 emphasized by Albers.

Verbalized or not, our art resides in the many decisions informing the manufacture of artifacts of some kind, for which tectonics and facture must speak to some clear purpose.

Her ethereal facture is characterized by the interplay of diffuse and saturated oil colors, working together to create a lens through which the viewer sees the painted body.

Wood # 4emits surprising power: despite its small size, repetitive composition, and understated facture, it embodies her pursuit of exhaltation and ecstasy, expressive qualities she admired in Jackson Pollock's huge dripped canvases.

Förg grounded US modernist forms in the stubborn sensuality of a materialistic facture.

The inevitable mottles and bubbles of paint divulge the artist's facture.

The monumentality of the dour monochrome composition was undermined by wobbly junctures and uneven facture, as though Butzer were demonstrating the absurdly arbitrary relation between his application — sometimes heavily impastoed, sometimes thinly glazed — and the static frame of a repeated motif.

The leveling of the definitions of what constituted a composed «picture» to the less determined plane of process was, after all, Pollock's most important legacy to an American preoccupation with facture, which Donald Judd famously termed as an art that was «coextensive» with the phenomenal world.

Whereas in previous paintings she featured lavishly - painted structural elements of defunct worlds, in her new work Gualdoni sheds the nostalgic architectural references and authoritative facture to find meaning in the process itself.

Look awhile longer and you'll discover that both their imagery and their facture reference landscape, cityscapes, pop culture and private narratives while they index the history of modern painting.

It was only later that I became sufficiently attuned to painting as a medium to recognise fully the richness and complexity of facture alone of the encaustic works.

2011Out of Focus Photography, Saatchi Gallery, London, UK (catalogue) Second Nature: Abstract Photography Then and Now, deCordova Sculpture Park and Museum, Lincoln, MA «Render: New Construction in Video Art», California Museum of Photography, University of California, Riverside, CA The Only Rule is Work, Galerie Waalkens, Finsterwolde, Holland Painters Painting, Atlanta Contemporary Art Center, GA Eslov Wide Shut Part II, Mallorca Landings, Mallorca, Spain Movable Facture, Vivo Media Arts Centre, Vancouver, B.C., Canada (catalogue) A Useful Looking Useless Object, Sierra Metro, Edinburgh, Scotland Sound + Vision: Crossroads, Plug - In, ICA, Winnipeg, Canada Effects & Affects: The Alphabet, Fumetto Festival, Lucerne, Switzerland You Killed the Underground Film or the Real Meaning of Kunst bleibt... bleibt... & The Sisters, (Group show with Bettina Koester, Wilhelm Hein and Jennifer West), Lost Property, Amsterdam Update no. 2, White Columns, New York (catalogue) Another Kind of Vapor, White Flag Project, St. Louis, MO Contour 2011, 5th Biennial of the Moving Image, Mechelen, Belgium Adult Contemporary, Kavi Gupta, Berlin How Soon Now, Rubell Family Collection, Miami, FL (catalogue) California Dreamin, Arte Portugal Biennial, Lisbon, Portugal Home Show Revisited, Contemporary Arts Forum, Santa Barbara, CA (catalogue) Abstract Moving Image, Taka Ishii Gallery, Tokyo, Japan One Person's Materialism is Another Person's Romanticism, Remap 3, Athens Greece

2012Second Nature: Abstract Photography Then and Now, deCordova Sculpture Park and Museum, Lincoln, MA Polycromies: Surface and Light, Leeds City Art Gallery, Henry Moore Foundation, Leeds, UK Inside and From the Ground Up, Museum of Contemporary Art, Cleveland Out of Focus Photography, Saatchi Collection Gallery, London, UK The Only Rule is Work, Galerie Waalkens, Finsterwolde, Netherlands Painter's Panting, Atlanta Contemporary Arts Center, Georgia Quinn Latimer Book Launch, A.P. News, Zurich, Switzerland A Useful Looking Useless Object, Sierra Metro, Edinburgh, UK Sound and Vision: Crossroads, Plugin ICA, Winnepeg, Canada Movable Facture, Vivo Media Arts, Vancouver, Canada

Hoyland's earlier paintings of 1960, 1961 and early 1962 are very near Miss Riley in spirit, if not in facture or restraint.

Bantock writes that «Rigden, for all his cool, has a razor - sharp awareness of the massive constraints which define a painting, that a painting has only three realities: area (surface plus edge), chroma and facture.

The paintings in Beauchene's show seem virtually identical at first — an impression that is aided by their tight linear installation on a single wall — but one quickly begins to notice all manner of difference in their facture and details.

In the NY Sun David Cohen writes that the real enigma of Murphy's treatment of the perceived world is that she is «neither hyperrealistic nor impressionistic, nor is she so remote from her own facture as to achieve — or seem to want to achieve — total verisimilitude.

Projects in progress include solo presentations of work by Erwin Redl, Tobias Putrih and MOS, Katy Moran, Joel Morrison, Nathalie Djurberg, and Paul Sietsema, as well as a Facture and Fidelity: Painting, 1945 - 2013, co-organized with Katy Siegel, which will open at the Wexner Center in 2013.

I don't see them as anti facture so much as more linear — which is just as much a «painterly» quality as thick or heavy applications of color.