Sentences with phrase «individual images of her paintings»

Although individual images of her paintings aren't available, Michaela Eichwald presented two dark abstractions (one can be seen on the back wall above) and an anxious, small - scale portrait (hung above eye level) that seemed unsure, edgy, and heartfelt.

Not exact matches

Archaeologists believed that the images at White Shaman were essentially unrelated, each depicting an individual ritual, and at first glance, the mural did seem chaotic: Swarms of indecipherable markings surrounded figures painted one on top of the other.

In my last VOLTA post I showed images of individual paintings.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

This exhibition includes two new groups of paintings: a selection of self - portraits and a series depicting the Million Man March on Washington, D.C. Displayed as counterpoints in two separate galleries, the self - portraits offer discrete views of the artist as a private individual with a public persona, while the Million Man March artworks — large, unstretched canvases screenprinted with mass - media images — portray arrays of anonymous individuals brought together at an epochal moment for the African American community.

This not only created a specific individual identity through the alliance of word and image but also encouraged a close scrutiny of the painting surface.

Thus while he painted individuals from photographs, Richter's replica images were often blurred and bore nothing distinctively identifiable about the subject, an effect that forced the viewer to consider the fundamental components of the painting itself, such as composition, color scheme, and so forth, rather than leaving the viewer to identify with, or be distracted by, a picture's implied content or its emotional element of «humanity.»

Jiang uses video, painting, photography, installation, writing and other mediums, blurring the boundaries between fictional documentary, mediated images and private narratives to reveal the intersections and segmentations between the body, desire and emotion of different individual and its representation or imagination in contemporary society.

As much as Wood is manipulating formal strategies in order to develop and assert his own language in painting, he also creates what he calls «new memories» by rearranging reality to suit his own desires.1 This overlay of impressions and memories onto his subjects results in an intensely personal catalog of images derived from his family history and individual interests.

Karsten writes: «Weight's paintings are captivating for many reasons - his color sense is perfectly in tune with his mysterious imagery, his realism is modified by the emotions of fear and anguish, and his compositions reveal a deep understanding of 2 - d image structure... It isn't mastery over materials that keeps me looking at Weight's work though - it's his crazy, compelling, haunted voice, and how he gives us a frank look at the unknowable world of individual emotional lives.»

Rendered in painted fiberglass or marble, her sculptures are not self - portraits or images of actual individuals, but are intended to portray familiar internal emotions, such as loneliness or vulnerability.

If American art has a mystic wing, it is to be found here, in images that reiterate the paradox of Tobey's painting: in transcending the self, each of these artists developed a thoroughly individual style.

Against the historical background of mural paintings and wall designs dating back over millennia, artists in the early 20th century devised concepts for wall paintings, picture walls and wall reliefs, which went beyond the frame of an individual image in order to take an entire wall or interior space into view.

Painted in grayscale Sherald's images challenges accepted associations of color with race and emphasize individual style.

He does not seek to replicate these images in his paintings, instead, he uses them as a tool to create works that draw from both individual and collective memories of place.

Intervening between the seen and the imagined, Aho explores «how a single painted image can mediate an equivalent level of tension and sensation present in an individual's relationship to the physical world.»

2016, An Image of Ireland - Imago Mundi, Luciano Benetton collection 2013 Support funding for individual artist, Arts Council N.I. (SIAP) 2011 Painting awarded to the private collection of Michael D. Higgins, President of Ireland

Individual «views» of the world are expressed in this show in Helen Frankenthaler's 1963 saturated painting September Image, Martin Puryear's sculpture Face Down (2008), and Joel Shapiro's Untitled (1986) falling figure.

In 1970 he returned to color, continuing to use photographic portraits as a model but incorporating a new technique in which he constructed the image from a gridded arrangement of individual color squares, each of which is like an abstract painting; viewed from afar, they form a unified, highly realistic image.

A catalog will be produced in conjunction with the exhibition and will include an essay by Douglas Fogle, images of the individual paintings, and installation photographs of the works in the new gallery.

In an attention - compromised age when images are instant and prevalent, abstract painting serves as a contradiction, acting as a conduit for the mark of the original, individual artist.

The Fence Friends Project developed over six months and the stages included: planning; purchase of materials; creation of working groups to sand and paint undercoat of images and production of students» individual designs.