Sentences with phrase «field painting upon»

Instead of seeing the artist's color field painting upon entering, you saw it only after scanning the ensemble of works already in the collection.

Not exact matches

Joan assessed the crowd, lighting upon the most interesting: young men turning white T - shirts into art, pinching the material tight and rubber - banding each section until they looked like porcupines being dipped into huge steaming vats of colored dyes; the young woman with a bird's nest of purple hair sitting at a potter's wheel, slamming down hunks of clay, her hands moving nearly as fast as the wheel, cups, vases, plates, bowls, trays, appearing like magic; the elderly man in a worn blue linen suit, a jaunty straw boater on his head, a smeared palette tight in his hand, painting a mammoth canvas of people on a beach staring out at an ocean where a sailboat bobbed in the distance, though he himself was standing in a mowed field; the handsome young man at an old - fashioned school desk, a manual typewriter in front of him, a stack of paper to the side.

By building layer upon layer of close valued, luminous colored strokes of oil paint, across areas and vast fields of highly keyed, chromatically rich, and close valued color, Monet achieved a look and feel that goes well beyond conventional easel painting.

Squeak Carnwath draws upon the philosophical and mundane experiences of daily life in her paintings and prints, which can be identified by lush fields of color combined with text, pa...

Subjecting the canvas to a range of painted actions and erasures upon it, Humphries tests the limits of painting, always interested in synthesizing physical and psychological space onto the painted field.

Working alongside Color Field painters such as Kenneth Noland and Thomas Downing, Gilliam elaborated upon Color Field processes and aesthetics while subverting Greenbergian notions of the «integrity of the picture plane,» and disrupting the boundaries between the visual world of painting and the tangible world outside it.

Working in pencil upon a thick layer of still - wet paint, the artist traces a sequence of rhythmic, graphic loops, ploughing grooves and furrows into a monochromatic field.

Masako Kamiya's acrylic gouache paintings are constructed of thousands of tiny nodules of paint, one built upon another, creating fields of color that shift and move, generating patterns and illusions.

Gyun Hur's temporary installations of cut silk flowers draw upon familial narratives, collaborative practice, placeness, and color - field painting.

Depending upon your art - historical attachments, Rees's paintings may recall works of Abstract Expressionism, surrealist automatism, colour - field painting, Australian Aboriginal «Papunya boards» or even the ink drawings of the Song Dynasty scholar painters.

In it, Steinberg declared that by inventing what he dubbed the «flatbed picture plane,» Rauschenberg derived a «pictorial surface that let the world in again» — a bold and profound claim from an art historian who had upon their emergence in the 1950s loudly decried the Combines.2 Implicitly contrasting Rauschenberg's achievement with the conventions of Abstract Expressionism and Color Field painting, Steinberg claims for Rauschenberg not simply a great formal advancement, but one that forced a shift in the discourse of visual art to include once more the social world.

(«Fire Art») draws upon the philosophical and mundane experiences of daily life in her paintings and prints, which can be identified by lush fields of color combined by text, patterns, and identifiable images.

Where Pollock and de Kooning used agitated gestures in paint to convey the urgency of their vision, Rothko and Newman relied upon fields of colour to envelop sight and transport the viewer to new realms of emotion and perception.

Influenced by Jackson Pollock and other Abstract Expressionists upon moving to NYC, she developed a unique method of painting, the soak - stain technique, in order to create her color field paintings, which were a major influence on such other color - field painters as Morris Louis and Kenneth Noland.

The path forward in art - historical terms was split between those artistic movements more aligned with deeper investigations into the increasingly essential properties of a particular medium or reductive practices (e.g., Abstract Expressionism, Color Field painting, Minimalism) and those movements that actively sought an expansion of the arts into a plurality of new forms, hybrid media, and interactive experience (e.g., expanded cinema, intermedia, installation art, performance).13 Of these choices, hippie modernism would follow the latter course through experiments that drew upon the theatrical qualities and the participatory actions of the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic art.

For Strüwe's 1949 solo show at the Brooklyn Museum the press release stated that Strüwe's photographs «often remind us of modern artists such as Klee or Kandinsky and yet they do not encroach upon the field of painting.

From afar one of his paintings could read as a monochromatic color field, but upon closer examination they reveal themselves as meditative compositions made up of childhood drawings and ruminations on his own memories.

While 20th century experiments with the effects of pure color — particularly Color Field painting and abstract expressionism — often relied upon immersive force and the use of large canvases to envelop the viewer's entire body, Amm's work elicits sustained acts of seeing and a more consciously analytical stance.

The standard story of 1970s art tells us that painting and experimental video were two discrete fields — that the artists who seized upon Portapaks and other new, time - based technologies found paint and canvas too conventional and commercial.

The press release for that show observed the photographs often remind us of modern artists such as Klee or Kandinsky and yet they do not encroach upon the field of painting.

Gilliam's experiments with paint application and his transformation of the canvas support elaborated upon the ideas and processes of Color Field painting.

The Color Field painting that I came upon in 1982 didn't seem to offer an opportunity to value what was left behind or left over, or to feature the overlooked or the remnants.

Whether visitors basked in the virtual warmth of Olafur Eliasson's fake sun in his «Weather Project,» or laid themselves upon Ai Weiwei's field of 100 million hand - painted porcelain sunflower seeds (until the dust stirred up was decreed a health hazard), the collective, interactive experience of these artworks has generated its own momentum and a new set of norms for the museum - going experience.

Many pieces in the exhibition were created by artists working with abstraction, such as Sam Gilliam's works that expand upon color field painting, or Jack Whitten's signature, process - based canvas.

There are many other artists working to build upon the legacy of Mark Rothko's color field paintings.

Rather than articulate universal visual codes for collective mobilization, these works reduce the specific lives and experiences of those represented in the images to a pictorial field for the artist to play upon; the fetishized beauty of documented protest rendered even more beautiful, and even less capable of stimulating social change, by its sublimation through the commercially - viable language of abstract painting.