Sentences with phrase «flat space of painting»

The «paintings» of Kimo Minton and Deedra Ludwig explore texture, line, medium, modernism and spirituality... and originate everywhere outside of the flat space of painting.

Not exact matches

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It shows you how artists have developed a window on a flat space through first of all basic means of overlapping, placement, symmetry and story telling and how this changed with Giotto and Masaccio (use of light and dark shading) and how Brunelleschi brought the grid and camera obscura to develop a window to the world in his paintings.

The floor in the back seat is flat, and seat cushions in Honda's 60/40 split «Magic Seat» back there fold up against the seatbacks to provide nearly 4 feet of vertical space for standing up tall plants and paintings inside.

Because the colors in a Fauve painting are of similar saturation or intensity, the pictorial space appears flatter, with objects seeming to be closer to the surface of the painting.

Often these works paradoxically evoke a deep space and call attention to their own flat materiality, a product of the systematic series of paint pours and chance - based chemistry.

Moreover, if one considers the alternate history of Schapiro's having continued to work in this vein of geometric abstraction, given the typical narratives of the time, her career would likely have plateaued in relation to a colleague like Held, in part because he was a male artist, with all the privileges that brought, and in part because he was, in that mode, perhaps a stronger artist: as impressive as «Byzantium» is, it can't compete with the impact of Held's paintings as paintings, their literal physicality — the extra thick stretchers and larger size and the paint handling, which manages to be worked even when flat — and their composition, which bends vision into sci - fi space but also retains the power of the overall ground.

The words sit on the picture plane, creating a play between the painting as a flat surface and as a window opening onto the illusion of deep space.

The series, which Marden began painting in 1973, inspired by his trip to Greece, has been hailed by many, including Roberta Smith, for whom its «seemingly flat monochrome fields were constantly flipping open, yielding suggestions of light and space and moody atmosphere.»

I feel exhilarated when I paint a new line of color interrupting the flat space and creating movement and flow.

One of the most influential European graffiti artists, best known for breaking the dimensionality of the flat surface graffiti was painted on, took over the entire gallery space by creating site - specific audio - visual installation.

And then there are hard - edged paintings in which space and colour are flat, flat, flat and the canvas plays tricks on your eyes, forming faces made from collections of interchangeable symbols such as smoke, fire, alligators, matches, razor blades, cigarettes and the letter «z».

The corner not only defies the flat plane of most painting and photography, but also reduces the workable space of a sculptural object from 360 degrees to just 90 degrees.

2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris, France

SELECTED GROUP EXHIBITIONS 2015 The Art of Creating, Halcyon Gallery, London 2014 Halcyon New Contemporaries Spring 2014, Halcyon Gallery, London 2012 Ugly, Broke, Sober, Kathleen Cullen Fine Arts, New York 2012 Group Show, Patricia Low Contemporary, St Moritz, Switzerland 2010 5th Anniversary Exhibition, Patricia Low Contemporary, Geneva, Switzerland 2010 June Gloom, Country Club, Los Angeles, California 2009 Abstract America: New Painting and Sculpture, Saatchi Gallery, London 2005 New York's Finest, Canada Gallery, New York 2004 Grotto II, Jessica Murray Projects, New York 2004 Hello Chelsea, Bellwether Gallery, New York 2003 Recession 2003, $ 99 show, Cynthia Broan Gallery, New York 2003 Launched, Jeff Bailey Gallery, New York 2002 Proper Villains, Space Untitled, New Haven, Connecticut 2002 End of the Rainbow, Bellwether Gallery, New York 2002 Grotto, Jessica Murray Projects, New York 2002 The Accelerated Grimace, Daniel Silverstein Gallery, New York 2002 Building Anxiety, Ten in One Gallery, New York 2001 John Bauer and Diana Puntar, Bellwether Gallery, New York 2001 Flat File, Bellwether Gallery, New York 1998 Winterland, The Lobby Gallery at Deutsche Bank, New York 1998 Summer Bonanza, Clementine Gallery, New York 1998 The Art Exchange Show, De Chiara / Stewart Gallery, New York

While his paintings involve complex layering and the deliberately distorted treatment of light — suggesting three - dimensional space — the subjects are flat.

The luminous color space of the background is simultaneously flat and volumetric, like a cloudless sky; it is a resolutely abstract space that asserts the two dimensional nature of painting and creates a dynamic contrast to the illusion of volume in the foreground.

If Marshall's work considers the erasures of history, Casteel's is very much set in the present tense (though her paintings are less a literal transcription of real life than they may seem: «I like to think of them as being able to wobble in and out of these flat and hyperrealistic spaces»).

In a text titled, «Post-War Reflection,» Kusama writes, «My Works are usually painted flat on undivided space so that each microscopic mass is followed by another and its surface has a concrete appearance when looked upon as a whole showing a group of remarkably vast masses.

The artist transports the viewer to this holistic in - between - stage by reformulating the constituents of painting as similar quintessential dualities: flat surface versus deep space, precision versus ambiguity, material versus ethereal, the grid - like composition of brightly colored dots versus animated, formative fields of homochromatic hues.

White space is clearly as important to Holyhead as the application of colour, the tension between the two is an intrinsic aspect of his compositions, with crisp, stencil - like geometric shapes cutting into flat translucent areas of wash, heightening both gestural process and media and making artistic intentions — an investigation into the enduring possibilities of painting — subtly present.

These two approaches articulated very early on in its history this kind of work's almost paradoxical dynamic: that one can read a monochrome either as a flat surface (material entity or «painting as object») which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in painting (i.e. Rodchenko); or as a depiction of multidimensional (infinite) space, a fulfillment of illusionistic painting, representing a new evolution — a new beginning — in Western painting's history (Malevich).

«Before he moved into three dimensions, he had to use up the flat plane of painting so that he could deal with space itself.»

And then a longing for the return of curves and for work with larger areas of colour brought paintings where flat planes of colour appear to weave in space in compositions of lyrical and exuberant rhythms.

Using paint and plaster, she repeated the motif of a white bird throughout the space, beginning with a flat illustrated wallpaper that morphs into a subtle, low - relief projection, at once grounding and disorienting the viewer.

A series of lithographs, like Pet Stains, 1990, hark back to Synthetic Cubism: puddles of black paint mark a stack of trompe l'oeil newspapers so as to create a tension between flat representation and illusionistic space.

Judd identified actual space as «inherently more powerful and specific than paint on a flat surface,» a sentiment characteristic of Minimalist faith in the productive reality of embodied, as opposed to purely visual, experience.1 Hammons, however, combines the purified geometry of a Judd or an early Robert Morris with the cast - off traces of African - American urban life.

In other works, pieces of clothing become part of the art as they inhabit a space in between the flat world of painting and the 3D world of fashion.

DC Your paintings are resolutely flat, And yet that flatness which unifies the work seems to be at odds with the kind of fragmentary dynamic space collage allows.

All three artists, in quite different ways, wrestle with spatial issues inherent in painting — indeed that is the strength of their paintings ---- there's tension between opening up deep pictorial space and reasserting the flat picture plane, in conversation with painting's materialism and objectness.

She begins a work by covering the canvas with gradated colour, and in works like Menso, 2016, and Lya, 2016, these first paint layers are revealed in the final design, taking on a primacy, and in the case of Lüür, 2015, a three - dimensionality through painted shadows that lift the squirming form off the flat of the canvas and in to space.

Interspersed throughout the floor, serpentine - like sculptures extend the installation into the physical space of the gallery, connecting the flat level of the paintings with the volumetric realm inhabited by the viewer's body.

Made from oil on plasticine clay on panel, the works are flat near - recognizable shapes that intersect painting and sculpture with holes, which the artist calls «orifices, points, or measures of space.»

2017 Nominee, Tosa Studio Award at Minnesota Street Projects, San Francisco, CA Artist Talk with Caitlin Haskell, SFMoMA curator, Chandra Cerrito Contemporary, Oakland, CA 2016 Alternate for Artist Residency, Djerassi Resident Artist Program, Woodside, CA SECA Award nominee, SFMoMA, San Francisco, CA Artist in Residence, Wassaic Artist Residency, Wassaic, NY Grant, The Golden Rule Foundation, New York, NY 2015 Alternate for Artist Residency, Djerassi Resident Artist Program, Woodside, CA Grant, The Golden Rule Foundation, New York, NY 2014 Artist in Residence, Willapa Bay, Oysterville, WA (April 2015) Alternate for Artist Residency, The Ragdale Foundation, Lake Forest, IL 2013 Grant, Center for Cultural Innovation Grant, The Golden Rule Foundation, New York, NY Artist in Residence, The Ragdale Foundation, Lake Forest, IL 2012 Artist in Residence, The Sam and Adele Golden Foundation for the Arts, New Berlin, NY Alternate for Artist Residency, Headlands Center for the Arts, Sausalito, CA Artist in Residence, Vermont Studio Center, Johnson, VT Artist Grant, Vermont Studio Center, Johnson, VT 2010 Artist lecture, Academie Minerva, Groningen, The Netherlands Geoform, online flat files artist 2009 «Best of the San Francisco: One of three artists to watch», San Francisco Magazine Alternate for Artist Residency, Djerassi Resident Artist Program, Woodside, CA MINUS SPACE flat files, Brooklyn, NY Artist Grant, Goethe - Institute, San Francisco, CA 2007 The Drawing Center Viewing Program Artist Pierogi flat files, Brooklyn, NY 2004 Artist in Residence, Fine Arts Museums of San Francisco, San Francisco, CA Visiting Artist, University of California at Berkeley, Painting, Berkeley, CA 2002 - 5 Headlands Center for the Arts Affiliate Artist 1998 American Composers Forum Grant 1995 Samuel B. Fleisher Art Memorial, Challenge Award

Yau writes: «it seems to me that Plimack - Mangold's early investigations of space should be credited with initiating a dialogue in opposition to Frank Stella's stripe paintings, which squeezed space out of paintings altogether, and the flat, grid - like floor sculptures that Carl Andre began after 1965.»

Miniature painting, with its flat, stylized forms, stands in opposition to newly introduced European perspective, with its emphasis on individuality and the illusion of space.

You know there's a time that it takes to make something and painting traditionally has to do with this kind of uncanny attempt at creating space out of a flat surface, but its's also an incredible pleasure that comes from it... I find it absolutely just human and essential - every time every time it happens.

Her abstract paintings present a confluence of affinities from the ornamental to the extra-terrestrial; profoundly deep spaces are built with extremely flat surfaces.

These near - flat sculptures visually link us in proportion to the work of Steve Mykietyn, an art handler based in New York, who reveals new paintings from his studio and project space ORGY PARK that flow free with colour, geometric motifs and are painted onto pieces of toughened fabric.

In this group of small paintings, individual colors and their arrangements evoke particular emotional responses and provide a tipsy interplay between creation and destruction, linear and volumetric forms, flat and dimensional spaces.

I think that this unconventional space will offer an opportunity that can allow for a fusion of the flat and spatially developed that almost reads like an abstract painting and creates depth within that window space.

Sparks employs reconstructed sculpture and cut and sewn digital paintings that fracture our perception of space with their shapes of flat color and conscious reproduction of illusion.

The walls themselves, painted with layers of flat, burnished blue - black paint, seem to recede like a dark sea into the night, while the line, lit with blue light (a technique she has used before), appears to hover untethered in the space.

Fontana aimed to uncover a depth in the traditionally flat surface of painting so as to reveal an inner space.

The destruction of traditional perspectival space in the picture plane has defined everything from cubism through Ellsworth Kelly and Andy Warhol all the way up to Takashi Murakami at the turn of the millennium, making «flat» one of the prime qualities sought in good, honest painting.

From 1993, he reverted to more conventional flat surfaces, creating space through interleaving painted forms, but always demonstrating his extraordinarily astute use of colour.

Coupled with white shapes that could seem either solid or transparent, laying flat on the surface or implying a geometric solid, Held used these ambiguities to reintroduce the idea of imaginary space back into painting.

In retrospect, it seems to me that Plimack Mangold's early investigations of space should be credited with initiating a dialogue in opposition to Frank Stella's stripe paintings, which squeezed space out of paintings altogether, and the flat, grid - like floor sculptures that Carl Andre began after 1965.

Using the logic of radical material transformation, lightweight panels lean flat against the wall, while others, warped by the application of water - based paint, stand independently in space.