Sentences with phrase «images of painted bodies»

Not exact matches

HRT: There were frequently depicted images of soldiers, dead bodies, and destroyed houses and it was just really difficult to see really young children painting these images because it's so hard to comprehend the horrors that they have witnessed.

HRT: I think the children's work was much more raw, what they depicted often very kind of... again the images of soldiers and dead bodies and destroyed houses... and it was children painting these images... The adults» were less emotionally charged.

Barbie, sometimes wearing outfits and hairdos that might send shudders up Mrs. Handler's spine, has been the subject of art exhibitions, an Andy Warhol painting, a television documentary, books and Web sites, including Barbie.com and AdiosBarbie.com, a site dedicated to improving women's body images.

A bathtub electrocution is somewhat disturbing and a murdered female is seen lying naked on her stomach, with her body covered in gold paint (one of the movie's most famous images).

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The aero parts — flush - mounted headlamps, front and rear air dams, rocket - panel extensions — sharpen Sprint's boxy image considerably, although some of the pieces feel frail under fingertip pressure and the white wheel covers might better have been painted body color or alloy silver.

An image of a body made with a handheld scanner, enormous, distorted, as luminous as a Caravaggio painting.

Oks recalls that, many decades ago at age 23, he painted an orchard scene and for the first time included in his work images of the bodies and faces of women.

Using International Klein Blue paint, Wagenknecht had Roombas trace her nude body on canvases, creating images of the female form that recall Klein's «nude paintbrush» works.

But with «St. Sebastian,» a blank - slate approach was unexpectedly easy, primarily because, for all the image's familiarity, I realized how different the painting looked, or rather felt, in the flesh... It's the painting's endearingly strange comedy — especially the bottom half of the body, which seems to flap away (and bring to mind the flagellation of St. Bartholomew)-- that rescues it from post-adolescent self - pity and actually, in an odd way, ennobles it, as if invested with an amused stoicism.»

The painted image represents the consciousness of the body.

As a cerebral painter, this body of work continues his interest in systems, minimalism, and Op Art from the 1960s and 70s; with the computer as a drawing tool, his images also explore contemporary graphic design, digital technology and the history of hard - edged abstract, geometric painting.

The work belongs within the trajectory of his painted series Women II through IV, which were realized between 1952 and 1953 and are variations on the same sinister, blatantly sexualized image of the female body.

His paintings of black people aim to diversify the images we see in the museum:» If I go to the museum and see white bodies, black bodies, Asian bodies, Latino bodies, then I will expect to see those things every time I go.

For this new body of work, the artist has translated her earlier paintings into ASCII, a character - based image encoding system developed in the 1960s, and then, using laser stencils, applied the data to gesturally - painted surfaces.

They include Kelley Walker's exhibition at the Contemporary Art Museum, right next door to the Pulitzer, which displayed sexualized pictures of black women and historical images of police brutality against black people; Dana Schutz showed a painting of Emmett Till's mutilated body in the current Whitney Biennial.

While Schnabel has been making paintings with spray - paint for more than thirty years, the body of work on view in Enigmas remains relatively unknown; these more recent paintings are built on a single found photograph whose weathered emulsions gave birth to an image beyond the original.

Yayoi Kusama, ever interested in the proliferation and repetition of image and self - image, contributes surprising new works from a recent body of portrait paintings, while Grayson Perry's ceramic portrait Transvestite looking in a Mirror depicts the artist as his alter ego Claire.

In many of my recent paintings, I am utilizing and playing with scale shifts of the letters, which is a new development from my previous body of work, which used a uniform text size to aid in making an image.

Her outsized, fleshy and frequently disturbing paintings of naked women flout the rules of traditional nude painting, challenging conceived notions of body image.

Starting with lost and «abandoned» footage created by Deren, McElheny has re-filmed, deconstructed and extensively processed these moving images to suggest a world of abstraction that sometimes coalesce into bodies or objects, or, in reverse, where mannerist bodies passing through the painting seem to dissolve themselves into granular abstraction.

Rendered on a variety of coarse fabrics, recognizable images of human bodies and surfboards in the water pass in and out of view, subsumed by the water and mists which are created by the textures of the painted surfaces themselves.

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, Twentieth - Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

Four years later, his father hanged himself; Guston discovered the body and subsequently sought solace by hiding in a cupboard lit by a naked bulb, the image of which would become a prevailing motif in the oddly disquieting, figurative, often autobiographical paintings he began to make in his fifties.

Every single one has extraordinary color: the variety and brightness each piece carries, detail: the amount of work that is put into every aspect of each painting that make it look so realistic and abstract, lighting: the bright light shining throughout each image giving each piece an intriguing positive / enthusiastic energy, shading: the detailed shadings on each face giving them that 3 - dimensional look, definition: the quality of the defined lines that are portrayed through every painting (piece) and every small detail in the painting (like the faces and body parts) line: the complex and balanced lining that is seen in both, the abstract and realistic images in these works, texture: somewhat giving off an appealing texture to the works by the dimensions, as if you can reach out and grab the images, dimension: the realistic look that each women has (3 - dimensional), spacing: the space is used wisely in each work, very nicely spread out adding to its originality, touch: the clear and powerful finishing touch that every piece has, and the most visible that is seen in every piece here, is simply life.

If their imagery comes from sand and body painting and from ritual, and Australian Aborigines avoid naming or viewing images of the deceased, that suggests we are dealing with art that is both made for collecting institutions and flies in the face of their purpose.

ognizable images of human bodies and surfboards in the water pass in and out of view, subsumed by the water and mists which are created by the textures of the painted surfaces themselves.

In so doing, his paintings are imbued with a familiar range of adolescent impulses bound up in ever - complicated politicized issues of sexual identity, body image, competitive drive, and willingness to conform.

The mural features a new image from her series, Nebraska Paintings, a body of work that moves closer to the representational imagery only implied in earlier pieces, but which captures the wide open spaces and big sky of the artist's native state.

In this current series, I continue to explore the freedom of abstract gestural painting from my early work and which reemerged in my later work, yet in this body of work I combine these images with images from my mid-career hardedge geometric paintings.

Her collages are constructed using fragments from fashion and travel magazines, pornography, African art books, automotive schematics, and images drawn from science fiction as well as hand - drawn or painted elements which create a variety of new formations of the body.

The paint looks like it was erased rather than applied, the erasing of an image of the artist perhaps, yet the brush strokes and the dimensions attesting to the artists presence, and body.

There are shocking images, including an Eric Taylor painting of human bodies piled up at Belsen concentration camp.

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, 20th Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

These essays help guide what might otherwise be an overwhelming diversity of images, including a David Hammons body print, an iconic poster by Emory Douglas, Betye Saar assemblages, and Norman Rockwell paintings, among many others.

Everything is going to be alright, Elizabeth Cherry Gallery, curated by Bob Nickas, Tucson, Arizona, USA Fresh: Recent Acquisitions, Albright - Knox Art Gallery, Buffalo, New York, USA Works on Paper From Acconci to Zittel, Victoria Miro Gallery, London, England Next Wave Prints v. 2.0, Elias Fine Art, Allston, Massachusetts, USA New Paintings, Wayne Gonzales, Jacqueline Humphries, Jonathan Lasker, Blake Rayne, Dan Walsh, Kevin Bruk Gallery, Miami, USA 2000 Drawings & Photographs, Matthew Marks Gallery, New York, USA What's So Funny About Color, Elias Fine Art, Boston, USA Glee: Painting Now, The Aldrich Museum of Contemporary Art, Ridgefield, CT Palm Beach Institute of Contemporary Art, Organized by Amy Cappellazzo and Jessica Hough), Florida, USA PICT: Digital Image Painting, Banff Centre for the Arts, curated by Yvonne Force and Carmen Zita) Alberta, Canada Paula Cooper Gallery, New York, with R. Grosvenor, R. Lichtenstein, R. McBride and D. Walsh, Tomio Koyama Gallery, Tokyo, Japan Hex Enduction Hour, Team Gallery, New York, USA (Curated by Bob Nickas)(212), Gary Tatintsian Gallery, New York (Organized by Irena Popiashvili, catalogue with essay by Christine Kim) Bit By Bit: Painting & Digital Culture, Numark Gallery, Washington, USA 1999 Sweet & Sour, Galerie Art & Public, Geneva, Switzerland Digital Sites, Numark Gallery, Washington, USA 1998 Brite Magic, Islip Art Museum, East Islip, New York, USA (Curated by Carolanna Parlatto) 1997 Diamond Dogs, Team Gallery, New York, USA Super Body, Tomio Koyama Gallery, Tokyo, Japan 1996 Face and Figure in Contemporary Art, Museum of Fine Arts, Boston, USA AbFab, Feature, New York, USA Mutate / Loving the New Flesh, Lauren Wittels Gallery, New York, USA (Curated by Michael Cohen) Supastore de Luxe, UP & Co., New York, USA (Curated by Sarah Staton)

Through a variety of media — sculpture, painting, performance, and photography — she has consistently explored issues of wealth and excess, body image and beauty.

Through the use of color and chiaroscuro and an ethereal sense of light and space, Hollowell paints images that play with ideas of foreground and background, figure and ground, and body and landscape.

His poetic use of found materials, printed and reproducible images, his unconventional and inventive mark - making, and his embrace of chance operations (whether dragging a canvas on the ground, allowing a drop cloth to absorb stains of nature and of the studio, or exposing the paintings to the forces of weather) can be seen echoed within Schnabel's entire body of work as well as in the work of a subsequent generation of artists.

Working outwards from this moment, the exhibition traces several related phenomena: the artistic innovations of poured paint and stained raw canvas; the social implications of decoration; authorial control vs. materiality; the body and painting; and the image of the woman painter and related questions of gender and identity.

Rail: I remember the Austrian filmmaker Peter Kubelka once argued that cave painting should be considered as sculpture, or at the very least painted sculpture, because the maker of the images must have felt the irregularities in the cave's walls, especially in certain projected and rounded, smooth areas that might proffer the body of the bison to be painted right on top.

One can see this in two bodies of work: cultural representation is the primary issue in The African American Flag Project, where «African American» flags were the subject of the paintings; and the Made in USA series of paintings touch on the politics of consumption through self - referential text and image.

«Experimenting with non-conventional paint — lipstick, nail polish, and mascara — I question our obsession with body image and standards of beauty by playing along with women's beauty rituals, performing them in exaggerated ways.»

Much as Bracha's drawings and paintings foreground the fragility of the archival material, her videos evoke an atmosphere of water and explore, with jellyfish and butterfly, how the fluidity of the medium allows images — often drawn from Bracha's paintings, drawings, notebooks, and family photographs of mothers and daughters — to emerge and recede, to fade into one another, and to move between bodies and generations.

His current body of work is a series of «painthings,» formal sculptural objects made exclusively of paint; these objects play with ideas of representation in abjection to conventional hegemony of the image.

If De la Cruz's paintings have in the past paralleled some of Parrino's formal gambits and deconstruction of painting's surface and support, she recast the idea of the wounded, damaged painting in terms of her own body image and sense of human vulnerability.

Here is a painter as much committed to portraying the image of the body, as he is to plying the slippery matter of paint's body.

Come 1975, Gilliam moved away from draped canvases, and since then, he has produced considerable bodies of work ranging from geometric collages and quilted paintings (both inspired by his African American heritage) to more recent forays into computer generated images and assemblage.

My recent paintings and sculptures focus on the African - American experience of navigating public spaces while remaining buoyant within them... Working beyond the physical image of the body, objects of buoyancy, and navigation become metaphors for selfhood, resilience, and the sanity required in the turbulent oceans of contemporary America.»

The eclectic selection of Pistoletto's works includes his well - known series of Mirror Paintings, images printed on polished steel, which performs as a mirror and incorporates the viewer's reflection into the body of the «painting».