Sentences with phrase «interesting idea of painting»

The show revolves around a simple yet interesting idea of painting the canvases on location of the walls, in the cities he artist traveled.

Not exact matches

It was in the summer of 1995, just before I started my doctorate, that I had the idea of combining my interests in painting and biology, which had always been quite independent up until then.

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Dubnau comments: «one of the most interesting aspects of portraiture is the idea... if you're painting a particular person who lives at a particular time... you're painting their visage but you're really also painting the zeitgeist of the times which is inscribed upon their faces and the clothing they're wearing and their body language and their surroundings.

I'm not interested in the idea of the wave of an arm as a drawing — dance has its own language with its own issues that are different from sculpture, painting, and drawing.

I'm Still in Love with You, Women's 20th Century Club, Los Angeles, California Visions, XXIX Rencontres Internationales de la Photographie, Arles, France Exterminating Angel, Galerie Ghislaine Hussenot, Paris, France Hello Out There, ACME, Los Angeles, California Paintings Interested in the Ideas of Architecture and Design, PØST, Los Angeles, California Come and get it while you wait, Hollywood DMV at Cole, Los Angeles, California

She is interested in the logic of place and her paintings, installations, performances and videos consider the idea that symbolic and ideological systems can be activated and re-imagined through collaboration, imaginative play and masquerade.

T03690, however, was the only «painting - poem» of the immediate pre-War years, a rare effervescence of the artist's interest in the idea of the equivalence of visual and verbal imagery that had fueled his earlier series of «painting - poems» of c. 1925.

«I was interested also in untold stories of paintings, like the painting under painting, as an «undercover» idea....

CS: I'm interested in David Joselit's idea of network painting.

That's why I found it very interesting in «Urgent Painting» how a lot of artists revisited the idea of wall paintings, which are basically works that disappear with the exhibition.

But then, it's true, soon my interest turned into this idea of basically putting together an imaginary museum where those postcards of paintings would be connected to one another.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raIdea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raidea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

More interesting is the element of undoing in this work, the way in which the artist makes and then breaks down his source connections, so to speak, undoing and defacing conventional ideas of painting, beauty, form, and structure.

Unlike most painters, Ingram takes up a position distanced from the direct act of painting and is interested in ideas of self - making painting.

Like Kawara, Kim is interested in the idea of maintaining a serial approach rather than engaging with the materiality of paint.

Lynda Benglis continues to be hugely influential to a younger generation interested in such various ideas as feminism, performance, process driven art and grappling with the sacrosanct area of painting.

I'm interested in the idea that you come out of painting.

The 53 paintings and prints in the exhibition tell the story of how Pollock, Ossorio and Dubuffet influenced each other through not only their close friendships, but also through the sharing of ideas, techniques and even studio spaces... All three grappled with abstraction versus figuration, and each had an interest in process and materials.»

MS. CORDOVA: Well, let me ask you, because you're bringing up some really interesting issues about the idea of success for an artist and especially during the late «60s and 1970s, you seem to be moving away from painting and towards — well, obviously installations, also towards maybe even conceptual art.

Gaugin painted one large painting, but a very kind of interesting, interesting subject, idea.

The idea of painting on photographically based images interests me very much and the act of painting on an old painting was liberating.

It's hard to say how it came about that in late 1987 my interest revived and so I got hold of some more photographs and had the idea of painting the subject.

Chambers challenges himself to produce paintings that interest and surprise him, in which he «can go beyond the image, or beyond the idea of an image into a state of catharsis».

He was intrigued by Rothko's interest in the metaphysical qualities of color and the idea of the viewer being enveloped by the painting through their unique perception and engagement with the canvas.

This interest came to the fore in projects such as The Whitest White (2012), which forged a relation between the history of mining in Norway, Malevich's suprematist painting White on White (1918) and the Russian mystic Ouspensky's ideas about a spiritual dimension.

«The tromp l'oeil, I'm interested in, the whole idea of an illusion, that is subverting itself and actually calling your attention back to what's real about it, it's reality of the actual paint in front of you.

It's telling that Anderson has «always been interested in the idea of silence, something being mute in the painting, «he says.

The «ideas and theories» of painting are not very interesting to me because they don't last very long, 20 or 30 years at the most, but if they help the picture to look interesting I'll make good use of them.

Vanessa Hodgkinson is a London - based artist interested in conceptual and structural frameworks that reinforce her process of communicating ideas through painting.

Partly sculptural installation, partly deconstructed painting à la Jackson Pollock, partly a performance vacated by the artist, partly the scene of a violent crime (Le Va has adocumented interest in detective novels), not even Artforum had any idea what to call Le Va's work — a November 1968 cover story dubbed it «distributional sculpture,» for lack of a better term — but today, it's safe to dub it a watershed moment, with reverberations seen in such contemporary artists as Sarah Sze.

Simon's artistic practice is informed by an academic interest in theoretical ideas behind abstraction in art and explores the act of transformation of figurative elements in painting into abstract planes.

Her interest in the work of Edvard Munch and Egon Schiele particularly inform Emin's paintings, monoprints, and drawings, which explore complex personal states and ideas of self - representation through manifestly expressionist styles and themes.

They offered me an exhibition at the end of 1965; but I became so preoccupied with the idea of modern sculpture that I thought showing my painting might distract me from my new interest.

She has been working with an interesting idea of reinterpreting painting as a tool to refer to history; treating painting as an object — playing with its inherent nature — and contextualising or framing it within a certain narrative of found objects that carry history.

The idea of stripping back the layers of paint or returning to pre-Renaissance painting interests me, and I begin to think in terms of fractions of effort, small victories, and good or bad luck.

It's not simply the sequel to High Times Hard Times, nor the revision of genealogies traced in the «Provisional Painting» essays, nor the direct extension of ideas explored in «Abstraction Out of Bounds» — though it shares something in common with each of these.2 Though it's not necessary to think of the show in conjunction with anything else at all, it could be interesting to consider it, since I've been pursuing comparisons thus far, as a sequel to one of Rubinstein's poems — for example, his «Some Ways of Looking at «Some Trees»», 3 part of which goes: The artist whose work inspired this experiment once titled a canvas «Contempt of one's work as planning for career.»

AG What's interesting to see in your paintings is that each square has its own idea of space, but they're also working with each other within the whole composition of the canvas.

In describing her interest in painting, Joann Gedney repeatedly goes back to the idea of space: «The word I connect with my painting is space.

Each painting displays my interest in these ideas with images of light and violence, both dark and bright, and my attempt to fancifully explore the familiar existential angst of uncertainty while speaking more directly to the conflict of our lives drawing nearer to death.»

Idea Spotlight Add interest by painting the backs of bookcases a coordinating hue.

Check out the interesting, slightly edgy, wall idea — paint that doesn't make it to the ceiling, but instead, leaves a jagged line of color.

Rebecca's interest in interior design began as a teenager when she had the «bright» idea of painting her bedroom a striking tangerine shade.