Sentences with phrase «form of action painting»

Not exact matches

He went on to say: «The other arts — architecture, painting, vestments, and the arts of movement — each contribute to and support the beauty of the liturgy, but still the art of music is greater even than that of any other art, because it forms a necessary or integral part of the solemn liturgy, because it is so intimately bound to the sacred action, defining and differentiating the various parts in character, motion and importance.»

It's clear he is sympathetic and fully supportive of Snowden's actions, and does his best to paint him as a patriot who had no choice but to go public with his belief that the spying had nothing to do with terrorism, but was instead a form of social and economic control.

In all of the works, the articulation of each form — whether a paint - streaked surface or carefully cut out paper — describes a particular phenomena of time and motion, while giving concreteness and permanence to fleeting traces of human action.

The retrospectives of Jackson Pollock (1912 — 1956) at MOMA and Mark Rothko (1903 — 1970) at the Whitney form a veritable yin - and - yang of action painting.

Pitched between depicted action and the act of painting - paint's illusory potential and its materiality - Furnas entwines history with art history in provocative combinations of narrative and form.

Critic Helen Sumpter suggests in her recent essay on Gabb: «It's almost as if Gabb had taken something of the cool colour field paintings of Barnet Newman and turned them into something like the gestural action paintings of Jackson Pollock... These extraordinary artworks could also be seen as somewhat flighty but if they've become sculpture, paintings should at least stay fixed in their final form, shouldn't they?

In all his works here we see the back and forth between what the eye gleans from this world of light, shadow, color, form, people, trees, skies, water and all the elements of objective reality, and what the artist asserts of his feelings, as revealed by gestures, color and movements of paint through actions that depict the artist's inner world.

Comics, band fliers, decorative prints, and other forms of popular visual culture inform the «zine - like nature of the works by Arturo Herrera and the bespoke patterned paintings by Ruth Root, as well as the riotous, colorful canvases by Carrie Moyer, a cofounder of the agitprop art project Dyke Action Machine!

Leaving these forms unpolished, he assembled them with chains, ropes, and double T - girders to create dynamic large - scale structures that echo the gestural nature of action painting.

Juxtaposing form, substance, and action to create his unique version of painting.

Back in those days, in 1952, action painting was seen as the purest form of union between painting and performance.

Echoes of his sculptures from this period — those that, like his letters, were formed into three dimensions from many sheets of paper — show up in Serra's painting - infused sculptural actions of the late 1960s.

[1] It was part of a larger postwar movement known as Art Informel (or Informel), [3] which abandoned geometric abstraction in favour of a more intuitive form of expression, similar to action painting.

Painting in 1950, this 18 - by -24-inch Sapolin enamel on paper reflects the artist's decision in the late 1940s to eliminate «color from his palette in order to focus on line, form and imagery» resulting in «the birth of a confident and energetic synthesis of abstraction, biomorphic forms and gestural «action painting»... The black and white abstractions also demonstrate the crucial relationship between drawing and painting in de Kooning'sPainting in 1950, this 18 - by -24-inch Sapolin enamel on paper reflects the artist's decision in the late 1940s to eliminate «color from his palette in order to focus on line, form and imagery» resulting in «the birth of a confident and energetic synthesis of abstraction, biomorphic forms and gestural «action painting»... The black and white abstractions also demonstrate the crucial relationship between drawing and painting in de Kooning'spainting»... The black and white abstractions also demonstrate the crucial relationship between drawing and painting in de Kooning'spainting in de Kooning's oeuvre.

«In this week's roundup Gabriel Orozco paints with vectors, Florian Maier Aichen explores new forms of photography, Cindy Sherman is honored, several artists contribute calls to action and explore environmental sustainability, and much...

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 arof 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 arof 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 arof 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 arOf 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 arof 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 arof 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 arof light and sound as well as the interactive qualities of kinetic arof kinetic art.

It was part of a larger postwar movement known as Art Informel (or Informel), which abandoned geometric abstraction in favour of a more intuitive form of expression, similar to action painting.

In the late 1940s, Motherwell embraced the tenets associated with the Abstract Expressionist movement: the canvas as an arena in which the artist engages spontaneously and passionately in the physical and mental action of painting; the composition, often monumental in size, charged with feeling; the abstract forms suggesting deep, open - ended meanings.

But Kounellis» work is not about the artifice of traditional painting; rather, its strict formality is railing against the prevailing gestures, drip and daub tendencies of Abstract Expressionism and Art Informel where the action, emotion, material, touch and will of the artist is inextricably interwoven within both the medium and the form.

While Kaloidis» work is more action explicit, portraying direction of motion through drips and splatters, paintings by Szot feature an array of shapes and patches of different hues and layers, which rely on the juxtaposition of color and form to convey stories of their own.

Major Abstract Expressionist Jackson Pollock, dubbed «Jack the Dripper» by Time magazine in 1956, is best known for his large «action» or drip paintings of 1947 — 52, formed by pouring and manipulating liquid paint atop canvases set on the floor.

The «action painting» of Jackson Pollock and Willem de Kooning, being devoid of naturalistic references, was seen as a higher more modern form of art, and was paralleled by an even purer form of Abstract Expressionism in the work of Mark Rothko and others.

Rejecting all forms of representational art or figuration, they also avoided the gestural abstract expressionist idiom of Willem de Kooning and Jackson Pollock, even though the latter's «action - painting» can be seen as a pioneering attempt to create an «all - over» field of colour, recalling Monet's huge water lily canvases.

Is it merely a series of totally self - contained, self - explanatory forms of expression (like Abstract Expressionism), enlivened only by a heightened awareness of the process involved (as in Pollock's action painting - brilliantly captured by the photography of Hans Namuth)?

Within the genre of abstract expressionist painting the purest form of gestural art can be seen in Jackson Pollock's Action Painting - in which paint is applied all - over a horizontal canvas using a «drip, dribble and splash»painting the purest form of gestural art can be seen in Jackson Pollock's Action Painting - in which paint is applied all - over a horizontal canvas using a «drip, dribble and splash»Painting - in which paint is applied all - over a horizontal canvas using a «drip, dribble and splash» method.

The presented works form two groups: one based on playing with the traditional marine painting with its focus on the expressive and aesthetic potential of the sea, and the other, in which the sea is neither the object of study nor the main protagonist but rather the backdrop for the action.

These distinctive shapes in a Pollock might appear to be the work of tightly controlled wrist - action, but scientists who study Fluid Dynamics say it is the result of a physical phenomenon (noticed by the artist in his experiments and then exploited in subsequent works) where the paint naturally forms coils as it lands.

Unlike gestural abstraction focused on action and the context of the artistic process, most notable in the painting style of Jackson Pollock and William de Kooning, color field painting took a different turn, concentrating on the intricate color interplays and subtle coherence of forms and colors.

In James Lecce's psychedelic paintings, color and form fluidly intertwine in elegant, swirling compositions that simultaneously recall Art Nouveau patterning, Op Art, action painting, rock formations and pools of water.

A group of artists who come to mind, many of whom are peers and colleagues, are working with hybrid forms of painting, photography, and / or sculpture that are intertwined with specific actions and activities.

McLean has participated in many major international exhibitions since the 1960s, highlights include: When Attitudes Become Form, Kunsthalle, Bern (1969); Information, Museum of Modern Art, New York (1970); The British Avant Garde, New York Cultural Centre (1971); Documenta 6, Kassel (1977); Art in the Seventies, Venice Biennale (1980); A New Spirit in Painting, Royal Academy, London; Zeitgeist, Martin - Gropius - Bau, Berlin (1982); Documenta 7, Museum Fredericianum, Kassel (1982); Thought and Action, Laforet Museum, Tokyo (1983); The Critical Eye, Yale Centre for British Art, New Haven (1984); Out of Actions; Between Performance and the Object, 1949 - 79, Museum of Contemporary Art, Los Angeles (1997); Bruce McLean and William Alsop, Two Chairs, Milton Keynes Gallery (2002) and Body and Void: Echoes of Moore in Contemporary Art, The Henry Moore Foundation, Hertfordshire (2014).

She meticulously paints the patterns of these «knitted messages,» that function much like other forms of creative direct action such as picket signs, banners, street theater, body painting, and costumes.

In this way, the artist partially allows her paintings to form themselves, calling to mind the Tao Te Ching's injunction to «act with no action, use the technique of no technique.»

In an influential 1958 article, Allan Kaprow, the inventor of the free - form events known as Happenings, described Pollock's drip paintings as pivotal in the way they turned the artist's action directly into art content.

Dine's earliest art - Happenings and an incipient form of pop art - emerged against the backdrop of abstract expressionism and action painting in the late 1950s.

Willem de Kooning, Dutch - born American painter who was one of the leading exponents of Abstract Expressionism, particularly the form known as Action painting.

A sub-variant of the wider Art Informel style - one of the most important modern art movements in Europe during the post-World War II period - Tachisme was a blotchy form of gestural painting, a European variant of «action - painting.»

Tobey on the other hand was motivated by a spiritual goal, and saw painting as a form of meditation rather than action.

These paintings do not belong to the category of abstract painting that moves far from society and strives for pure sensation but rather stand as circumstantial recordings of information, drawing together the complexity of social information and the purity of abstract painting and perhaps ultimately reducing different social, environmental, and individual actions into colors and shapes that represent different forms of information.

However, for those who do not wish to choose the doctrine Avray Wilson is proposing, the paintings offer the experience of aesthetically wonderful and accomplished explosions of colour and form vigorously displayed and art historically firmly categorised as the European form of American Action Painting known as «Tachisme».