Sentences with phrase «figural representation»

"Figural representation" refers to the way something is depicted or represented in the form of a figure or image, rather than through words or descriptions. It means using pictures, drawings, or physical models to show or represent something visually. Full definition
Entitled Tworkov Paints a Picture, the piece walked readers through Tworkov's approach to painting and demystified abstraction by presenting it as a deliberate process in which an artist uses color, line, and flame - like brushstroke to express a subject, much like in figural representation.
Towards the end of the 1940s, motivated by an exhibition of Arshile Gorky's paintings, Marca - Relli abandoned figural representation for thickly painted abstract forms.
The artists participating in this year's NAP broadly span the spectrum of varying themes in contemporary painting, including figural representation, material studies, optical abstraction and spatial depictions, while continually redefining the limits of formal categorization.
These critiques came in multiple forms, including an approach to art that favored figural representation embedded in a politics of struggle and an assertion of identities misrepresented by or excluded from American culture.
While most of his contemporaries had begun with figural representation and moved towards abstraction, Leslie's work followed the opposite trajectory.
In 1933, he made his first abstract sculpture and abandoned figural representation entirely.
Rothenberg's visceral canvases have continued to evolve, as she explores the boundary between figural representation and abstraction; her work also examines the role of color and light, and the translation of her personal experience to a painterly surface.
The thirty - nine artists participating in this year's NAP broadly span the spectrum of varying themes in contemporary painting, including figural representation, material studies, optical abstraction and spatial depictions, while continually redefining the limits of formal categorization.
Beginning with her roots in graphic abstraction and ending with her work in figural representation, the exhibition will be the largest collection of her work to date.
Alston began creating abstract paintings in the 1950s, but he never abandoned figural representation.
Focusing on Lassnig's self - portraiture, the exhibition presents works by the artist — most of them never previously exhibited in the U.S. — from all creative periods of her career, spanning her early involvement with graphic abstraction in Paris and Art Informel, to her later shift to figural representation.
«Living in an artist loft building on Broadway that over the years included neighbors Kenneth Noland, Joel Shapiro, Janet Fish, and William Copley, Williams believed that abstraction offered him greater creative and expressive freedom than figural representation, but he was also wary of the potential cold, impersonal aspect of painting that was merely about painting.
«Williams believed that abstraction offered him greater creative and expressive freedom than figural representation, but he was also wary of the potential cold, impersonal aspect of painting that was merely about painting.
When he resumed painting in 1945, Tworkov found himself increasingly interested in abstraction, which he saw as analogous, rather than antithetical, to figural representation.
Like Romare Bearden and Charles Alston, Woodruff refused to limit himself to either figural representation or abstraction, and he often worked in both visual languages within the same period of his life.
These female «portraits» provoked not only with their vulgar carnality and garish colors, but also because of their embrace of figural representation, a choice deemed regressive by many of de Kooning's Abstract Expressionist contemporaries, but one to which he consistently returned for many decades.»
Focusing on the theme of figural representation, the exhibition will present the diverse means by which this singular -LSB-...]
The works in Beyond the Spectrum attest to the array of approaches and styles within American abstraction, and they challenge two persistent tendencies: to conceive of abstraction as the purview of white artists and to limit notions of authenticity to figural representations of African American culture where black artists are concerned.
Marginalization within a male - dominated art world was a shared experience among women artists, but Neel's dedication to figural representation in the era of abstraction compounded her invisibility.
But even her relationship to figural representation was complicated, which only further confounded attempts to pigeonhole her into a marketable or exhibit - able slot.
Figuration is often marginalized — along with prewar American art in general — in mainstream accounts of the 20th century, which is typically portrayed as a progressive obliteration of figural representation.
A singular force in China's contemporary art scene, Aniwar Mamat creates abstract paintings influenced by his earlier experiments in minimalism and figural representation, as well as by the history of Abstract Expressionism.
A show currently running at MoMa Ps1 focuses on Lassnig's self - portraiture, the exhibition presents works by the artist — most of them never previously exhibited in the U.S. — from all creative periods of her career, spanning her early involvement with graphic abstraction in Paris and Art Informel, to her later shift to figural representation.
In this exhibition, Weiser moves further toward geometric abstraction from the figural representation of a head and torso that underlie the structure of the paintings in his first exhibition at the gallery in October of 2007.
The exhibition at MoMA PS1 in New York presents works by Maria Lassnig from all periods of her career, most of them never previously exhibition in the U.S. and spanning her early involvement with graphic abstraction in Paris and Art Informel, to her later shift to figural representation.
«[William T.] Williams believed that abstraction offered him greater creative and expressive freedom than figural representation, but he was also wary of the potential cold, impersonal aspect of painting that was merely about painting.
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