Sentences with phrase «flat space of the canvas»

Mullen's work transcends the flat space of the canvas and invites the viewer into a new realm which is not explicit, creating access into a wider spectrum of the possible, and the imaginary.

Not exact matches

Mangling the stretcher and piercing the flat edifice of the canvas to unleash it into three - dimensional space, her works become transformed into something closer to sculptures.

Taylor's «B» is angled to remind us that it has been applied on the flat surface of the picture, not on the door in illusionistic space; the white drips on the floor could be in the room itself, or a result of his vigorous work on the canvas.

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».

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

The hues in Articulation Portfolio II Folder 28 (B) work in concert to give the flat surface the distinct appearance of a tunnel or other 3 - dimensional space; while the form on the left appears to move towards the viewer, the form on the right seems to lead directly into the canvas.

Donzeaud's experiments in turning a plastic used for containers into flat screens that adapt to the walls of the indoor space are stretched out and over a frame; sometimes hanging like a canvas in «Untitled PE (Caring 01)» and «Untitled PE (Caring 02, 03, 04)» or jutting out of wall and becoming a sort of installation - sculpture in «Untitled PE (Caring 05, 06)».

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.

This led him in 1958 to visit the Venice Biennale: the experience of Lucio Fontana's slashed canvases, which dramatically introduced the element of space into otherwise flat surfaces, was succeeded by direct contact with Piero Manzoni, whom Fabro met when he moved to Milan in the following year.

For instance, Self Born, 1949, while taking full advantage of the «drip, blob, and spatter» method used by Jackson Pollock and Robert Motherwell, among others, went one dramatic step further by employing these devices not against the kind of flat, implied space that existed in Pollock's and Motherwell's canvases but within the infinite, clearly defined atmospheric space also found in the works of such Surrealists as Dali and Tanguy.

In a time of flat paintings — mostly I'm referring to those that lack perspective, as if all that's shown on the canvas has been pressed up close to your eyes — I appreciate that the next course of action might be a transition from pure flatness to a somewhat flat, though highly layered space.

Highly influenced by the Dansaekhwa painters of South Korea, Kim Chanil is known for his monochromatic works that distinctively transcend the two - dimensional space of a flat plane canvas.

The paint texture, marks and subtle variations in color, and bleeds / drips / rips of paint similarly create their own interference, breaking the illusion of depth and space within the pattern, and bringing the eye back to the surface of the paint, the «skin» covering the flat canvas.

In the case of 13th Floor Elevator, an additional stage of over-painting in spray and gesso was then applied, putting into relief a canvas otherwise focused on compressing space on to a flat plane.

In their works they dealt with what they considered to be the fundamental formal elements of abstract painting: pure, unmodulated areas of color; flat, two - dimensional space; monumental scale; and the varying shape of the canvas itself.

Encapsulating his distinctive «push and pull» technique of implying space while asserting the primacy of the flat canvas, Auxerre demonstrates the robust way in which Hofmann's paintings dramatize the dynamic oscillation between volumes and voids on the one hand and two - dimensional color planes on the other.

Having first attracted attention with flatter - than - flat hard - edged paintings, Stella has been steadily expanding into space ever since, beginning with low relief and collage and proceeding to curved canvases, paintings with projecting sculpture - like elements, and out - and - out sculpture — although Stella prefers to think of his free - standing works as paintings in three dimensions or «sculptural paintings,» rather than sculptures.

Although the color and canvas are bound together on a totally flat surface, our eye moves, in her words, «miles back and forth» through the fictive space the artist creates out of her large, open washes of color.

Frank Stella has been recognized for his artistic innovations since the age of 25, when he cast aside the concept of creating illusionistic space in his canvases in favor of privileging flat surfaces.

Painting will no longer create space as a theatre; it will give space itself a theatre.5 The paint will meet the surface sensuously, In a broad, flat engagement of the palm, by fingertip daubs, and through varieties of clawing and caressing.6 Painting will always tremble, but very precisely.7 There will be no difference in the world between planning airily away from the canvas and actually taking your brush and making the first mark.8 The revolution will be painted.

De la Cruz breaks convention, quite literally, by mangling the stretcher and piercing the flat edifice of the canvas to unleash it into three - dimensional space.