Sentences with phrase «interesting painting practices»

And I think that often the most interesting painting practices are that.

Not exact matches

i was trained as an optometrist, but became so interested in painting that i only practice being an eye doc one or two days a week, now - and spend the rest of the time at the easel.

painttube is a research group of staff and post graduate students at the National College of Art and Design, in Dublin, who are engaged and interested in painting within contemporary fine art practice.

Fisher comments: «I think one of the most interesting questions in a painting practice is how to be simultaneously of the present in the work and at the same time speak to a well - articulated lineage.

Freud's adherence to realism and focus on the human figure, when abstraction and other progressive forms of practice were more prolific, moved him in and out of the spotlight until the 1980's when renewed international interest in painting and figuration gave his work a new significance.

Keeping her interests tethered to this line of inquiry has given her the freedom to cover a swath of art practices including sculpture, painting, photography, installation, and performance.

Raphael Rubenstein's strong interest in painting is manifested though this exhibition catalogue, which «focuses on New York painting in the 1980s as practiced by a generation born between 1939 and 1949.»

Gerard Ellis May 30 — July 11, 2013 A painter and draftsman by calling and choice, Gerard Ellis establishes an interesting dichotomy between the practice of painting and social critique.

This large - scale and beautifully preserved example of Bill's painting clearly illustrates the multitude of interests inherent to his practice, including art, design, architecture and typography.

The MFA in Painting at the University of Houston is intended to facilitate intellectual development and the practice of making art, as defined by the needs, interests and affinities of each student.

The point of departure for the exhibition is a particular shade of violet that all three artists coincidentally found themselves using, with this coincidence inspiring an interest in seeing their work side by side, to draw a line between their practices and their innovative approaches to painting.

Welsh graduated from Pratt with a BFA in Photography, which underscores the varied and intersecting nature of her painting practice, as well as her conceptual and technical interests.

In accordance with Frecon's practice, these works are testaments to her interest in the history not simply of painting, but of paint itself.

Educated in painting, Smith found himself more interested in entertaining than in image - making or the avant - garde happenings surrounding him, and so began his extensive video, installation, and collaborative practice, often portrayed through his naïve characters, such as «Mike» and «Baby Ikki.»

For that reason, this exhibition is one not to be missed by aspiring painters and portrait artists, or those interested in painting practice.

Organized by Rhizome's Artistic Director, Michael Connor, Brushes convenes artists Laura Brothers and Andrej Ujhazy, art historian Alex Bacon, and others to explore digital painting as a practice for screen - based display and online circulation, against the backdrop of a current surge of interest in digital painting for the gallery.

A long - term dialogue with Japanese painter Kenzo Okada also guided her practice and bolstered her interest in Zen Buddhism, as well as her intuitive approach to abstract painting.

Sonsini, born in 1950 in Rome, New York, previously compared his painting practice to street photography, emphasizing its spontaneity and intense interest in quotidian detail.

That boom was driven by a commercial gallery scene and auction - houses less interested in practices drawn from the neo-avant-garde, but instead in the type of works that grace white cube spaces — in particular, large paintings that were shifted profitably at auction.

While the method of the paintings included in the exhibition relates to electronic art and new media, they share an interest in rich materiality that characterizes modes of abstract painting not ordinarily associated with those practices.

In a fugue of abstraction and representation, depth and surface, micro and macro, the remarkable slippage between gestural waves of paint and fantastically rendered figures, creatures and objects, these epically scaled paintings evolve Cooke's fundamental interest in the theory and practice of painting to a compelling hybrid state of generation and destruction.

Attempting to complete a painting every day speaks to my interest in ritual, mindful practice, and classical still life and trompe l'oeil painting.

David Brian Smith is one of a few interesting painters represented by Carl Freedman — including, for example Michael Fullerton and Ivan Seal — all of whom draw on the conventions, genres and histories of painting in their contemporary practice.

«My artistic practice is based in figurative oil painting and is motivated by my interest in human experience and behaviour.

Expanding upon Murakami and Juxtapoz magazine's interest in flattening high and low cultures, this exhibition includes work by artists whose practice has been shaped by a variety of sub-cultures including skate, surf, graffiti, street art, comics, design, illustration, painting, and digital and traditional arts.

The artist's long - standing interest in Japanese nihonga painting and the contemporary practices of manga and animation are highlighted in this important body of work.

To accompany the painted installation, Grosse has selected two documentary films to be screened in the first floor galleries, intended to frame her creative practice and research interests.

«I am aware that drawing and painting may no longer be at the forefront of contemporary art practice; however, I use those forms to explore and depict the sensual realm which is the main area of my interest.

While maintaining her painting practice, Ms. Pijoan also developed an interest in public art, translating her signature filigree work from paper to metal.

Including a striking mural, painted only a day before the opening night, the exhibition Lust Politics is an incredible showcase of the artist's practice and interest in questions of human desire and sexuality.

While at Goldsmiths, Oneika began to integrate her deep interest in combining the practice of Painting with New Media.

Paintings and drawings come out of his long - standing interest in politics, philosophy and the relationship between art theory and practice.

Richardson is fascinated by the ways we connect with landscape; within her deeply layered practice, she draws on narrative devices used in science fiction and B - movie horror films, as well as nineteenth - century landscape painting, with particular interest in the apocalyptic conjurings of John Martin (British, 1789 - 1854).

Some areas of Chaffee's scholarship interests include abstract painting and conceptual art, and engaging directly with emerging to mid-career contemporary artists to realize exhibitions with the intention of moving their artistic practices forward.

Works such as Das Rätsel, 1976 and Nevada, 1977 (both Private Collection) point towards the artist's interest in American abstract painting practices in their simultaneously expressionistic and minimal motifs and chromatic execution.

An interest in the coalescence of form and space is apparent in Smith's practice and particularly stands out in the diversity of his watercolor paintings.

Her interest in printmaking is combined with her practice in painting.

An interest in poetry runs through Botts's practice, as evidenced in the titles of his paintings and in the volume of his own poetry, which he published as a companion to his visual work, Clouds, Leaves, Waves (1996).

Michael Rosenfeld Gallery attracted private and institutional collectors and curators, and finished the day with a $ 450,000 sale of one of their Beauford Delaney paintings; Lehmann Maupin reported «strong sales throughout the preview» on paintings by Hernan Bas, which range from $ 30,000 — 200,000 each; Marian Goodman Gallery associate director Emily - Jane Kirwan told us their Giuseppe Penone booth garnered «fantastic interest»; Mnuchin Gallery partner Sukanya Rajaratnam noted that reception of their booth was «extremely positive»; and by 7:30 pm, two of Betty Cuningham's Bill Traylor works, each priced over $ 100,000, had been dotted red (a pricing practice the dealer still embraces).

An interest in the philosophical potential of painting led him to switch the focus of his practice from writing to painting, which he took on full time almost immediately.

Concurrently, he began to explore a burgeoning interest in painting, a fundamental departure from the detached process of appropriative photography that had defined his practice until then.

Consequently de Ville has also stated that although the History Paintings are quite conceptually driven, they are also designed to show that different pigments «all have their own nuanced identities», evidencing an interest in «the raw essentials of painting», which he sees as characteristic of Lalic's practice (Nicholas de Ville, «Maria Lalic: Recent Paintings», in Todd Gallery 1995, p. 9).

It was during this time that Evangeline's interest in using unconventional and aesthetically resistant materials emerged in her painting, a technique that has come to define her formal practice.

For those of us still interested in keeping the practice of painting flourishing, the show by Devin Powers, located in the front room of the Lesley Heller Workspace, makes it clear that the art form is indeed live and well.

Davis Rhodes» keen interest in abstraction as a de-contextualized intensity that runs through visual culture has led him to explore the relationships between painting and print media, and a studio practice and public performance.

How has your interest in researching «future and homegrown materials» influenced your painting practice?

Educated in painting, Smith found himself more interested in entertaining than in image - making or the avant - garde happenings surrounding him, and so began his extensive video, installation, and collaborative practice, often portrayed through his naïve characters, such as «Mike» and «Baby Ikki.»

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.

Characterised by fixed rules, codes, and subsequently a lack of ambiguity, these areas of interest and their accoutrements are completely at odds with the nebulous nature of painting practice.

It is impossible to understand an artist's practice from one example, and given the range and abundance of artistic concerns, it is exhausting to appreciate and sort these various interests both within each painting and in the show as a whole.