Sentences with phrase «illusionism in»

I'm using the actual space because when I was doing paintings I couldn't see any way out of having a certain amount of illusionism in the paintings.

(Maastricht, Netherlands) The theme of illusionism in art guides «Illusion and Revelation», group show on view in the Bonnefantenmuseum Maastricht since December last year.

There's still no avoiding the experimental spatial illusionism in the works of Valledor and Fleming that punctuate the walls of the gallery — and it becomes obvious that other artists who have until now rarely been associated with the gallery's history, namely Linda Fleming and Patsy Krebs, shared the concerns of their contemporaries.

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).

The volume, published on the occasion of the solo exhibitions held at Passerelle Centre d'art contemporain in Brest and Villa Croce Museo d'arte contemporanea in Genova, collects the images of the works produced in the last two years on the relationship between the activities of the intelligence agencies and the practices of magic and illusionism in the Cold War era.

Minimalism's proponents, including Donald Judd, Dan Flavin and Carl Andre, had themselves learnt much from the use of real space and light and the rejection of picture - plane illusionism in Fontana's art.

Illusionism in 20th - century art is explored in works based on color theory and in Op art that confounds perception.

Not exact matches

The cupola of the church of St. Ignatius of Loyola in Rome is a great example of Baroque illusionism (b).

«I'm not interested in illusionism, the way a lot of abstract artists are.

Such is the chief delight, and paradox, of the show: both strains of early American still - life — Audubon's scientific realism and Peale's painterly illusionism — seem, in the context of western art history, less like «art» and more like «history.»

Additional highlights include Helen Frankenthaler's Belfry and February Turn (both 1979), which mimic the look and feel of Abstract Expressionism yet in truth represent a rupture with that tradition through the use of a staining technique that seemingly minimizes the artist's role in the process; Frank Stella's Double Scramble (1978), whose nested squares, color contrasts, and pulsing optical effects bridge the artist's early minimalism and later illusionism; and Robert Rauschenberg's Golden Chalice (1989) which, insofar as it marries abstraction and representation and juxtaposes gestural brushwork and photographic media, affords a crucial link to late 20th - century abstraction.

I wouldn't put these in an abstract expressionist camp; like Gomez's, there's a photographic, calculated illusionism makes them look magically impressionistic at first and less interesting upon further inspection.

«That gets rid of the problem of illusionism and of literal space, space in and around marks and colors — which is the riddance of one of the salient and most objectionable relics of European art.

She recalls another time when abstraction was chafing against its limits, in what Barbara Rose briefly heralded as «abstract illusionism.»

The latter section also somehow incorporates reflections on the fashion designer Cristóbal Balenciaga, memories of the Watergate scandal, details of trips to Italy and France, and a precise critical discussion of illusionism and colour in mid-century painting.

«In a 50 - year career, James Havard has painted in many styles, from realism to trompe l'oeil «abstract illusionism» to multimedia collage to his current mode, which recalls art bruIn a 50 - year career, James Havard has painted in many styles, from realism to trompe l'oeil «abstract illusionism» to multimedia collage to his current mode, which recalls art bruin many styles, from realism to trompe l'oeil «abstract illusionism» to multimedia collage to his current mode, which recalls art brut.

As Newman captured «streaks of light» in his zips, De Luca captures the atmosphere of contemporary light and color derived from varying visual sources such as advertisement and mass media, conflating modernist abstraction with contemporary illusionism and sensational effects.

Many of his drawings are based on appropriated photographs; in their deceptive illusionism, these drawings challenge the value placed on original creations and argue for the appreciation of mimetic reproduction.

The continuation of abstract expressionism, color field painting, lyrical abstraction, geometric abstraction, minimalism, abstract illusionism, process art, pop art, postminimalism, and other late 20th - century Modernist movements in both painting and sculpture continued through the first decade of the 21st century and constitute radical new directions in those mediums.

However, irregularities in the paintings» surfaces create a tension between the illusionism of the patterns and the physicality of the built - up surfaces.

Among those shedding light on the illusionism (not to mention delusionism) of the self - portrait in refreshingly creative ways is the Polish artist Aneta Grzesykowska.

In a three - question interview with her published by Half, she explains the difference between two painting styles that have influenced her work: Bad Painting and Abstract Illusionism.

Abstract Illusionism has a basis in sincerity, so much so that a lot of the artists weren't taken seriously.

The works are rendered in a dynamic style that at once denies and promotes traditional painterly illusionism, thus reflecting the creative visions at stake during this watershed moment.

In New York in the 1960s, Judd was among the first in a group of artists who challenged notions of subjectivity and pictorial illusionism by creating art from industrial processes and materialIn New York in the 1960s, Judd was among the first in a group of artists who challenged notions of subjectivity and pictorial illusionism by creating art from industrial processes and materialin the 1960s, Judd was among the first in a group of artists who challenged notions of subjectivity and pictorial illusionism by creating art from industrial processes and materialin a group of artists who challenged notions of subjectivity and pictorial illusionism by creating art from industrial processes and materials.

Originally trained as a sculptor but interested in painting for its illusionism and color, Fuchs moved from sculptural installation to painting after her two - year residency at the Core Program.

In 1967, she went so far as to write a letter to Artforum, challenging Judd and Morris for asserting that sculpture was the preferred art form for resisting illusionism and the «death of painting.»

Stella wrote, «It is the legacy of Caravaggio's space and Caravaggio's illusionism that tipped the scales decisively in favor of abstraction by the middle of the twentieth century.»

7 In actuality, however, Rauschenberg played a bit more daringly with the spatial effects engendered by photography, pressing photographs (and fine art reproductions) into service as markers of perspectival illusionism so as to pit them against the Combines» otherwise flatbed expanses (not unlike the manner in which he utilized the actual openings he sometimes incorporated into such worksIn actuality, however, Rauschenberg played a bit more daringly with the spatial effects engendered by photography, pressing photographs (and fine art reproductions) into service as markers of perspectival illusionism so as to pit them against the Combines» otherwise flatbed expanses (not unlike the manner in which he utilized the actual openings he sometimes incorporated into such worksin which he utilized the actual openings he sometimes incorporated into such works).

Visiting Robert Ruello's third solo exhibition at Inman Gallery, I was reminded of the term «abstract illusionism,» which critic Barbara Rose coined in the late 1960s to describe painters using trompe - l'oeuil devices to create spatial and other pictorial illusions in non-representational painting.

Illusionism has long been an important aspect of Sinsel's practice and he continues to work with it here, deploying an impression of space more constricted than in his previous works.

In this way my paintings integrate traditional illusionism and contemporary formalism: they are convincing representations of actual objects as well as abstract arrangements of light, shape, and color.

Ernst Gombrich influentially argued that figurative art progresses thanks to progress in illusionism.

Utilizing the modern computer - aided methods of tapestry, Close is now able to approximate, in woven images, the mirror - like illusionism characteristic of the 19th Century photographic glass daguerreotype.

In 1964, Judd wrote Specific Objects, an essay (truly manifesto - like), through which he called for the rejection of the residual, European value of illusionism and advocating an art based upon tangible materials.

Turning its back on illusionism and allegory, this kind of art attempts to define its own universe of meanings, and in the polemical act of purifying itself from extraneously derived languages and imageries, aspires to ineffability.»

In the sixties pictorial space was uniformly flat, from Ellsworth Kelly to Roy Lichtenstein, whereas in the UK, I can not think of any pop artist who did not employ some sort of illusionisIn the sixties pictorial space was uniformly flat, from Ellsworth Kelly to Roy Lichtenstein, whereas in the UK, I can not think of any pop artist who did not employ some sort of illusionisin the UK, I can not think of any pop artist who did not employ some sort of illusionism.

In fact this surface plane is of no import, hence the illusionism.

Written about by influential critics (Judd, Lippard), and shown in prominent galleries (Martha Jackson, Pace), Lukin's work fused the Juddian «specific object» with hard - edge painting, geometric illusionism, the exuberant palette of Pop, and a feeling for sensual curving forms that exuded a playful eroticism.

Maychack studied art in the San Francisco Bay Area, and absorbed its traditions of assemblage, trompe - l'oeil illusionism and personal mythology; but also the post-minimalist interest in imbuing emotion and presence into abstract structures; he cites the personal, idiosyncratic work of Jessica Stockholder and Martin Puryear as major influences.

Christopher Flower draws from a variety of sources in his practice: conceptual art, illusionism, do - it - yourself invention, and the everyday.

In 1955, for the exhibition «Mouvements» at the Denise René gallery in Paris, Victor Vasarely and Pontus Hulten promoted in their «Yellow manifesto» some new kinetic expressions based on optical and luminous phenomenon as well as painting illusionisIn 1955, for the exhibition «Mouvements» at the Denise René gallery in Paris, Victor Vasarely and Pontus Hulten promoted in their «Yellow manifesto» some new kinetic expressions based on optical and luminous phenomenon as well as painting illusionisin Paris, Victor Vasarely and Pontus Hulten promoted in their «Yellow manifesto» some new kinetic expressions based on optical and luminous phenomenon as well as painting illusionisin their «Yellow manifesto» some new kinetic expressions based on optical and luminous phenomenon as well as painting illusionism.

A number of paintings in the Zwirner exhibition suggests that Bishop disagreed fundamentally with Clement Greenberg, who believed that painting resists three - dimensionality and illusionism.

But in embracing the physicality of painting and its de facto quality of abstraction, Downes elides not only painting's fundamental illusionism but also its accompanying sign power and capacity for metaphor.

In Gate (1983), a photograph of a Rockport pier that he shot a few years later, Rush used his camera effectively to explore the duality of compositional flatness versus illusionism, which was a dominant issue for abstract painters working in the 1950s - 70In Gate (1983), a photograph of a Rockport pier that he shot a few years later, Rush used his camera effectively to explore the duality of compositional flatness versus illusionism, which was a dominant issue for abstract painters working in the 1950s - 70in the 1950s - 70s.

In a work like «The Voice of Space» (1931, Guggenheim Museum, New York) by Rene Magritte, for example, the free - associative element resides in the selection of the imagery rather than in the technique or style (which, in this case, is academic illusionismIn a work like «The Voice of Space» (1931, Guggenheim Museum, New York) by Rene Magritte, for example, the free - associative element resides in the selection of the imagery rather than in the technique or style (which, in this case, is academic illusionismin the selection of the imagery rather than in the technique or style (which, in this case, is academic illusionismin the technique or style (which, in this case, is academic illusionismin this case, is academic illusionism).

In this film, artist Diana Al - Hadid creates sculptures and drawings that embrace illusionism and the unknown, culminating in the exhibition The Vanishing Point (2012) at Marianne Boesky Gallery in New YorIn this film, artist Diana Al - Hadid creates sculptures and drawings that embrace illusionism and the unknown, culminating in the exhibition The Vanishing Point (2012) at Marianne Boesky Gallery in New Yorin the exhibition The Vanishing Point (2012) at Marianne Boesky Gallery in New Yorin New York.

By borrowing Judd's purity in forms and combining it with the raw material of the container, Davila comments on the illusionism of the city of Miami Beach.

About illusionism and its limits, Gober's work plumbs banality for its mysteries in the manner of Marcel Duchamp and Jasper Johns.

The contemporary abstract artists are of an almost religious temper in their sense of dedication, and will themselves into a highly conscious pictorial celibacy in defiance of traditional, nineteenth - century illusionism.