Sentences with phrase «hybrid painted collages»

Rigorous and vibrant paintings, hybrid painted collages, quintessential billboards and sculptures hold each of their own territory as well as take on monumental significance as Hundley pushes to further intertwine and contrast his varying bodies of work.

Not exact matches

This exhibition seeks to redress this gap in the history of American art through an exploration of Schapiro's signature femmages, the term she coined to describe her distinctive hybrid of painting and collage inspired by women's domestic arts and crafts and the feminist critique of the hierarchy of art and craft.

Miriam Schapiro (1923 - 2015), a pioneering feminist artist and founding member of the Pattern and Decoration movement, is best known for her «femmages,» her distinctive hybrid of painting and collage.

The artist's practice, which encompasses painting, collage, photography, video, sculpture, and performance art, often centers around a mythical cast of human, animal, and hybrid characters, who live in a world that exists somewhere between fantasy and reality.

When dealing with an artist as subtle as Arturo Herrera, the manner of interpretation is by nature complex, further complicated by what at first seems like wildly varied and distinct bodies of work, each adopting the formal affectations of the medium at hand: architectural interventions, collage, abstract paintings, biomorphic abstractions, hybrid paintings, photography, sculpture, mail art.

Hutchins» expressive and intuitive studio practice produces dynamic sculptural installations, collages, paintings and large - scale ceramics, all hybrid juxtapositions of the handmade.

The figures who people Njideka Akunyili Crosby's large - scale works — hybrids of painting, drawing, collage, and printmaking — inhabit familiar - looking domestic interiors.

Painting, photography, construction and most especially all the hybrids in between conventional genres are pursued in this collage survey, with artistic intentions from the narrative to the minimal and modernist, landscape, portrait, cultural motif, abstract expressionism, formal poetics, nostalgia, emotion, and technical bravado.

Through intuitive layering of castoff furniture, oil and acrylic paint, and collaged elements including CDs, water bottles, iridescent LED lights, car parts, and plastic bags, Fowler meticulously constructs hybrid tableaux infused with a sense of raw urgency.

Collection, as Walter Hopps observed, is probably the first of Rauschenberg's works to evince all the characteristics of a Combine, that hybrid of painting and sculpture that the artist developed in the 1950s.1 Yet, despite the challenge to conventional categories posed by its collage and the addition of objects that transgress the limits of frame and picture plane, Collection stands primarily as a reflection on the contemporary status of painting.

Emma Cousin's painting «Hybrid» is a brilliantly complicated start to the show, as its strong and varied yet complementary palette presents a collage - style composition with elements and angles from identifiable objects and characters.

But as he painstakingly arranges these things and others into thick resin that coats his hybrid collage - paintings, he dematerializes them as well, revealing their potential to become elements of mind and pattern, like the inner - eye of whirligigs captured in his recent Millenium Phosphene Bloom.»

Jessica Jackson Hutchins» expressive and intuitive studio practice produces dynamic sculptural installations, collages, paintings and large - scale ceramics — all hybrid juxtapositions of the handmade.

Forgoing the relative ease and fluidity of the brush stroke, the artist methodically builds his compositions through shards of color incised from sheets of paper he has painted, forging a novel way to combine painting and collage into a singular hybrid.

In treating painting as a hybrid, open practice that combines elements of painting, sculpture, collage, and installation art, the artists in Stretching Painting extend a distinguished historical trajectory associated with minimal and post-minimal art, while expanding our sense of what paintingpainting as a hybrid, open practice that combines elements of painting, sculpture, collage, and installation art, the artists in Stretching Painting extend a distinguished historical trajectory associated with minimal and post-minimal art, while expanding our sense of what paintingpainting, sculpture, collage, and installation art, the artists in Stretching Painting extend a distinguished historical trajectory associated with minimal and post-minimal art, while expanding our sense of what paintingPainting extend a distinguished historical trajectory associated with minimal and post-minimal art, while expanding our sense of what paintingpainting can be.

This current work also features hybrid human - bird sculptures, sort playing off his collage - style paintings.

It is with strict intentionality and equality between painting, collage, photography, sculpture and hybrids of each that the work can be authentic and automatic.

Tamar Halpern's hybrid practice negates notions of the digital archive, incorporating fragmentary analog and digital content in a highly physical process of photographing, collaging, painting, ripping, masking and displacing in works that defy classification.

The final images are, despite their energetically spontaneous appearance, a hybrid of painting and collage that are realized slowly over time through much consideration.

Taking as starting points two groups of works, the «Lacquer Paintings» and the «Hardware Store Collages» (1994 --RRB-, Yang attempts to implant a hybrid or an oscillating view between seemingly different phenomena in «Quasi-ESP».

One of the main features of the Neo-Dada was to create hybrid works, with hybrid concepts: they were against mass consumption but celebrating it at the same time, creating works that were both sculptures and paintings, installations and collages.

In his «Combines» (1954 - 62)- now considered to be his foremost body of work - Rauschenberg extended the conventions of collage and found objects, to produce combinations or hybrids of painting and sculpture in a manner comparable with Marcel Duchamps «readymades».

Currently on view at Gallery Wendi Norris, San Francisco is «Apparitions,» a solo exhibition by Ranu Mukherjee, featuring a vibrant array of new textile prints, ink paintings, collage and hybrid films.

Extending well - established conventions of collage and the found object, he produced what he called «combines» - hybrids of painting and sculpture in which it seemed anything at all might find a place.

The buzz around Fred Tomaselli's meticulous painting - collage hybrids frequently centers on the work's more loaded materials — ephedrine, aspirin, saccharine, an assortment of brand - name pharmaceuticals, marijuana, and other psychoactive plants — which Tomaselli assembles into kaleidoscopic patterns and scenes; looking at his pictures, one might infer that «using» a drug as a raw material should constitute or symbolize «being on drugs.»

Working simultaneously in a range of mediums, Conner created hybrids of painting and sculpture, film and performance, drawing and printing, including bodies of works on paper utilizing drawing and collage and two important photographic bodies of work, including a haunting group of black - and - white life - sized photograms called ANGELS.

This focused mid-career survey presents a selection of Fred Tomaselli's unique hybrid paintings and collages from 1990 to the present.

On display were four «dogleg» - shaped canvases (versions of which were exhibited at James Fuentes Gallery in New York in 2014) and a new series of five sculptural reliefs, as well as several hybrid paintings, composed of multiple canvases joined together and overlaid with various collage elements, such as rope and scraps of wood (all works, 2015).