Sentences with phrase «figure painting relationships»
The resulting «self portraits» are influenced by figure painting relationships, popular illustration, and vintage animation.
https://www.artspace.com/ Not exact matches
No longer symbolic, the depicted figures now have their own life born of a direct relationship with painting itself.
His use of subtle variation continually questions the figure / ground relationship, making his paintings seem at once two - dimensional and sculptural.
These androgynous and perplexingly blank heads are the common denominator for Mr. McKimens, who boldly experiments with formal painting aspects like color, line, volume and figure - ground relationships.
A rising figure in the contemporary art world, Wade Guyton uses accessible technology to create paintings, drawings, and sculptures that address his viewer's evolving relationship to the digital and the ways in which mechanized images become physical works.
In my more recent paintings, by increasing the scale and gesture of the stars, the figure / ground relationship shifts from delicate to muscular.
Kelly's shaped canvases may concern themselves with pictorial issues — say, the relationship between figure and ground — but they do so in a way that denies painting's metaphorical capabilities.
In many of your paintings the foreground and background together create an all - over atmospheric field, while in your recent paintings, large star shapes become significant points of focus constructing much more of a figure / ground relationship.
Similar in spirit to Tomaselli's earlier work which referenced the relationship between the sub-culture of psychedelia and utopianism, these new paintings expand the dialogue into a fictive landscape where figures populate a frenzied, cosmic and other worldly universe.
Think of an Ellsworth Kelly: an abstract consideration of the relationship between figure and ground; a conscious questioning of the conditions that underlie perception; an exploration of the relationship of painting and wall, sculpture and space, viewer and work.
«Out of Sight» then proceeds chronically to present art from 1962 to 1978 and concludes by exhibiting four wooden sculptures and a series of seven vivid painting from her Days of the Week series by way of revealing Herrera's continued experimentation with figure / ground relationships and the architectural underpinnings of many of her compositions.
These androgynous and perplexingly blank heads are the common denominator in a diverse show where McKimens experiments boldly with formal painting aspects like color, line, volume and figure - ground relationships.
One need only to look at Schnabel's Portrait of My Daughter in relationship to de Kooning's «Woman» paintings begun in 1950 to recognize not only a similarity in the palette of pinks and reds but in the way the figure coalesces from the expressionistically painted background (which in Schnabel's painting also includes broken plates).
The painting and sculptural works included sample an eclectic range of approaches and interpretations of figuration and all question the endless boundaries of our personal and psychological relationship with the represented figure.
Neel is renowned for her visual acuity and psychological depth, and her portraits and nude paintings of friends, family, strangers, and prominent cultural figures alike convey an incredibly consistent intimacy regardless of the relationship to her subject.
In seeking to reinvigorate and advance the language of action painting, Yossifor concentrates the «action» near the center of each work while allowing it to become more diffuse around the edges, establishing a figure - ground relationship.
They're about painting — the figure - ground relationship, structure and organization.
Rising out of the paintings» colourful midst, the portrait of this emblematic bird interrupts the figure - ground relationship, where extinction and reinvention coalesce.
Effectively staining the canvas with paint, the technique subverted the figure - ground relationship associated with painting by blurring the boundary between form and surface altogether.
The new paintings blur that figure / ground relationship as forms with gracefully undulating perimeters press well beyond the constraints of the paintings?
In his 2010 forward to Cowboys, Wylie's Belgravia Gallery exhibition, writer and broadcaster Sir Christopher Frayling writes: «Wylie's paintings mediate the viewer's relationship with contemporary figures of myth, providing in the process a hotline to the gods of the silver screen.»
His work emphasized the emotionally expressive potential of color, modulating the figure - ground relationships in his paintings in a method he referred to as the push and pull, a technique similar to the one that put Jackson Pollock, Hofmann's close friend, on the map of modern art.
By painting these juvenile faces of Rainer Werner Fassbinder, Pier Paolo Pasolini — paternal figures of 20th century cinema that maintained a deep relationship with their mothers, as they even appeared in some of their films — and Frida Khalo — painter and feminist figure — Giulia addresses the issue of childhood.
Margaret Weissbach's paintings feature acrobatic figures that form a rhythmic relationship with each other.
Deconstructing the relationship between figure and ground, Richter embraces the contingency of his medium, enjoying the chance effects of the spontaneous yet confident application of paint.
By juxtaposing Mesopotamian cult figures with Classical antiquities and Renaissance paintings, Idol Anxiety examined how objects become idols and offered insight into the sometimes uneasy relationship between people and things.
Sharing an immersive figure - ground relationship, paintings by Elsworth Kelly or Mark Rothko can be all - consuming whilst Nintendo screens, as the artist explained «allow you to build new vectors of activity and anticipate space, as the eye and the mind move off screen or out of the picture plane».
These are just a few of the things that struck me about work in the exhibition: Feeley was intensely interested in a confounded figure - ground relationship; he was able to economically synthesize the formal and the comic; he was attentive to the erotic; his work clearly stands apart from Color Field painting.»
Yellow Piece (1966), the artist's first shaped canvas, represents Kelly's pivotal break with the rectangular support and his redefinition of painting's figure / ground relationship.
For her first solo exhibition in Italy, La Kermesse Héroïque, the Brussels - based Lucy McKenzie has made a group of new works, including mural paintings on canvas, painted objects, sculptures and figures - combined with elements of decor (such as lighting and furniture) to explore the relationship between style, ideology and value.
«There are some wonderful dialogues happening between works,» May says, «such as the relationship between factuality and truthfulness in storytelling, the representation of the figure in painting, systematic oppression, and creative approaches to conversations about feminism.»
She has also added new ways of applying paint, with a vocabulary that includes impasto surfaces; preternatural forms; geometric shapes; figuration; abstraction; paint dripped from a bottle; compressed space; unstable figure - ground relationships; drawing in paint..
-- Trickland, 2002, is a landscape painting in which the distorted scale of a large figure hovering over a miniature pastoral scene enforces the illogical relationships and shifting levels of reality that typify Borremans» practice.
ALL TOO HUMAN Feb 28 - Aug 27, 2018 All Too Human: Bacon, Freud and a Century of Painting Life celebrates the painters in Britain who strove to represent human figures, their relationships and surroundings in the most intimate of ways.
The walls of the space will be treated like a collage sheet and furnished with a constellation of paintings and collages focusing on the formal relationship of - human - figure and pictorial ground.
Rather than solely addressing the figure in painting, Mothernism challenges Greenbergian ideals of «flatness» by inviting the viewer into her painting - as - installation, a figure / ground relationship so upended as to become participatory, or relational.
He employs multiple approaches to the figure / ground relationship, recalling his personal history of painting.
A central figure in the history of feminist art, Christina Ramberg explored traditional notions of beauty and their relationship to our bodies in her paintings from the 1960s and 70s exhibiting a wide range of influences including costume history, surrealism, outsider art, Pop art, and comics.
Clearly well - educated in the strategies of representational painting (she received her MFA from MICA's Mount Royal School of Art in 2010), Arntzen slyly subverts the figure / ground relationship by drawing attention to the materiality of her medium.
In contemporary reviews of that exhibition, the curator and art historian Andrew Wilson claimed that Rae's paintings upset «the traditional figure - ground relationship» (Wilson 1996 — 7, p. 9), while the critic Andrew Graham - Dixon described Untitled (emergency room) as «a picture of something about to take shape before it has actually done so» (Andrew Graham - Dixon, «On the Surface», Independent, 19 November 2006, http://www.independent.co.uk/arts-entertainment/on-the-surface-1353083.html, accessed 15 June 2015).
In doing so, these raised shapes not only complicate figure - ground relationships but also lend an object quality to each painting that counters the optical mirage produced by the erasures and curvilinear lines.
Ultimately, this led to a pivotal break with the rectangular support and his redefinition of painting's figure - ground relationship.
which translates roughly as Everything should (will) disappear, will see Nadège Dauvergne present her works which portray figures from historical paintings and places them into new environments, creating associations from ideas and forcing us to ask questions about our relationships with money and the sacred in our modern society.
While the painting is open to interpretation thanks to its symbolism - laden juxtaposition, one would be forgiven to read the relationship between two figures as depiction of Khakhar's complex bond to a lover or his father who passed away during the artist's childhood.
The opportunity for Calza to show work at fairs like 1:54 feels ever more important when looking at the outstanding work by East African artists that fills her booth, including Peterson Kamwathi's dreamlike meditations on our relationship to the universe; and the charged paintings of Beatrice Wanjiku, featuring amorphous figures in straitjackets.
Taking visual cues from both actual and virtual environments, Kiernander's paintings explore relationships of space and the problematisation of the figure / ground relationship in painting.
His practise explores relationships of space and the problematisation of the figure / ground relationship in painting.
José Lerma's work finds inspiration from his own autobiography and an interest in long - lost historical figures, a dialogue that he chooses to have within the context of painting and painting's relationship to history.
Garish by comparison with the artist's earlier figure painting, the vibrant colours of Seated Woman overlap to confuse the relationship between the figure and its background, causing abstract sections of colour to protrude and recede independent of the form they describe.
Knowing the historical context of the nude in high art and refreshing the complex artist - model relationship, her work is distinct from the «raw» figure paintings of Jenny Saville and Lucian Freud, and goes beyond John Berger's juxtaposition of female nudes from old master paintings with porno shots in Ways of Seeing (1972).