Sentences with phrase «into paintings as objects»

Not exact matches

Water was «read» by their mind, heart, sensorial attitude, into a valuable process of transdisciplinary knowledge.3 The visit to The Water Tower4 of the town and its museum facilitated the real knowledge of the objects and instruments that were used during the centuries by the rural and urban civilization concerning the use of water; the creative workshops facilitated unexpected «meetings» between poetry, music and painting in the artistic imaginary frame of water; the presentations revealed the magic powers of the water as they are known in folklore, mythology and also the astonishing Bible significations of the water and its use in religious rituals; the scientific outlook on water brought forward for discussion its physical - chemical properties, its role in the human metabolism and in all living beings.

These deeply personal emotions I have toward these objects... breathe life into them as the subjects of my paintings.»

That tone was set at the opening night's performances: Lee Mingwei's durational performance Our Labyrinth (2015), for which a dancer swept the floors of the galleries with a mixture of grains, purifying a path for visitors; Aki Sasamoto's Delicate Cycle (2016), which included such domestic objects as washing machines and bundles of clothing; and Olivier de Sagazan's Transfiguration (2016), in which de Sagazan used clay, paint, and hair to transform himself into a shamanistic figure.

It was as if the forms were found objects that when pulled into the painting brought some of the feel of where they had been in the world with them.

Returning to the years immediately following his move to New York City in 1958, the exhibition illustrates the ways Dine incorporated household objects ---- often loaded with autobiographical import ---- into his paintings and sculptures as extensions of and metaphors for the human body.

In contrast to works that incorporate found everyday objects, such as the «Combine» paintings of Robert Rauschenberg or the Dada collages of Kurt Schwitters, Almquist's experimental paintings extend his picture plane into three dimensions with constructed elements of disjointed, dream - like imagery.

His work spans a range of media including photography, painting, sculpture, installation and use of the ready - made to create assemblages from everyday found objects such as books, ceramics, TV sets and other house - hold goods and paraphernalia, which Liu Wei transforms into sculptural objects and installations of eloquent complexity.

Serving as an overdue affirmation of Hoyland's significance within the field of abstraction, they provide fascinating new insights into the artist's practice, and through it, the object of painting itself.

But her relation to representation is not in the realm of narrative or allegory, the thing itself is the important thing, the painting as an object that projects into our space carrying pigment on its surface.

Deftly working in a range of media — including photography, painting, sculpture, and video — Johnson incorporates commonplace objects from his childhood into his work in a process he describes as «hijacking the domestic.»

However, I can also see them as objects and even make them into objects — by painting them, for instance.

Wood, paper, photography, playing cards and paint are transformed into objects that are simultaneously precise and diffuse, real and unreal, as well as rhythmic and static.

The gallery's website describes Chamberlain's process as «crumpling, crushing, bending, twisting and welding to form individual objects, which may be further painted and sprayed, [and combined] into aggregations, often on a monumental scale.

Leckey, suave in evening dress, delivers his peroration on images and objects, on Philip Guston's «thick - as - a-brick» paintings, on deformed feet in Georg Baselitz, on cats, on James Cameron's movie Titanic, on Marx's «All that is solid melts into air», and a great deal more.

And while it has been popular of late to display actual handmade African - American quilts, such as the ones exhibited in upscale New York galleries, Huckaby's act of repainting quilts disarms them as fetishized aesthetic objects while folding their weighted cultural meaning into the history of painting.

Fantastic and exotic representational subjects sourced from objects found in nature such as dried plant detritus, (leaves, pods, twigs, etc...) are ruminated over, then transformed into bronzes and paintings in this most recent solo exhibit of Kat's work.

«I wish to face things quietly, attentively» the artist has stated, «I treat painting [and objects] sincerely; I am communicating with them...» Her paintings turn these vessels into small monuments — monuments to usefulness and its reverse, emptiness, as well as the humanity we breathe into the objects of our world.

Although the heretical «maximalist» Stella divided critics, his extravagant flights into literal space extended his definition of paintings as objects and seeing as a physical act.

Following his Sky and Torn Sky / Cloud series from the early 1970s, Goode turned towards what can be seen as an existential inquiry into Minimalist painting, color, and the reification of the painting as an object.

The inclusion of both found objects (tape, photos, books) and his fine art paintings work together to illustrate an expansive view into Evans» history and biography as an artist.

In the late 1950s and early 1960s he made paintings and began as soon as 1961 to incorporate glass into small objects.

As ephemeral as they are translucent, these works present an elusive complexity as the striations of paint, fabric, keepsakes, collected and found objects, and clippings from mass - produced paper media coalesce into collages and assemblages that, taken individually or as a series, are most succinctly described as a multidimensional gestalt.&raquAs ephemeral as they are translucent, these works present an elusive complexity as the striations of paint, fabric, keepsakes, collected and found objects, and clippings from mass - produced paper media coalesce into collages and assemblages that, taken individually or as a series, are most succinctly described as a multidimensional gestalt.&raquas they are translucent, these works present an elusive complexity as the striations of paint, fabric, keepsakes, collected and found objects, and clippings from mass - produced paper media coalesce into collages and assemblages that, taken individually or as a series, are most succinctly described as a multidimensional gestalt.&raquas the striations of paint, fabric, keepsakes, collected and found objects, and clippings from mass - produced paper media coalesce into collages and assemblages that, taken individually or as a series, are most succinctly described as a multidimensional gestalt.&raquas a series, are most succinctly described as a multidimensional gestalt.&raquas a multidimensional gestalt.»

As he became more successful, Hawkins began to collage mass media images and eventually found objects into his paintings, and he developed a technique he called «puffing up» a shape: building it up from the support by mixing cornmeal into the enamel paint.

Scott's familiar household objects stayed in his painting, becoming simplified into plain, recognisable shapes such as the frequently included black frying pan (which he compared to Braque's guitar) and this jug.

A true believer in technology's aesthetic potential, he is intent on reinventing traditional pictorial methods — specifically, painting and drawing — by using the computer's capabilities and limitations to turn ordinary, Pop - inspired objects (video games and their characters, computer cables, screens, Apple Quick - Take cameras, etc.) into motifs but also stylistic models, painting them as if seen on - screen.

As its point of departure, the exhibition at MMK Frankfurt takes Schneemann's landscape and portrait paintings of the 1950s that evolved into object - like «painting constructions».

Graduating painting at Columbia University and the University of Illinois, Carolee Schneemann started using simple mechanisms to set her paintings in motion at the early stage of her career, integrating photographs and everyday objects into works she referred to as «painting constructions».

The works in the exhibition range from paintings marked by «water stains» resembling the patina of vintage photographs to Foulkes» tableaux paintings, which are constructed on a massive scale, exhaustingly carved into with a sandblaster, collaged with plaster, paint, and found objects (such as two Coke cans, an American flag, and a tree branch in «Lost Horizon,» 1991).

As a student in the 1970s, Bender tinkered with variations on Pop art and began to incorporate found objects into his paintings and sculptures, eventually realizing that assemblage afforded a way to make use of his compulsion to collect.

As part of her ongoing investigation into rethinking the object, Saban has conceived eight Painting Bags and four canvases touching on the deconstruction of painting, and in so -Painting Bags and four canvases touching on the deconstruction of painting, and in so -painting, and in so -LSB-...]

As our spatial relationship with such works is reconfigured, objects on view in Off the Wall permeate into space and challenge our comprehension of both painting and sculpture.

Bringing together some 80 paintings, collages, and objects, along with a selection of photographs, periodicals, and early commercial work, the exhibition offers fresh insight into Magritte's identity as a modern painter and Surrealist artist.

These objects, elegant as a banker's (or gangster's) suit, take painting into the realm of architecture.

Brenna Youngblood (b. 1979, Riverside, CA) incorporates her own photographs, representational fragments, and found objects, such as wallpaper and book pages, into her textured, atmospheric paintings that read between pure abstraction and a slice of life.

The conversations within the gallery will be heightened as a portion of the gallery will be transformed into a shop with hand - made «store items,» including objects that are hand - painted to look like kitschy tourist goods.

Hyon Gyon's paintings and sculptures teem with a raw and fervent energy, as she incorporates materials such as melted fabric, gold leaf, encaustic, spray paint, hair and found objects into her work.

Schimmel has organized major one - person retrospectives for artists Chris Burden, Willem De Kooning, Takashi Murakami, Laura Owens, Sigmar Polke, Charles Ray, and Robert Rauschenberg, and significant thematic exhibitions such as The Interpretive Link: Abstract Surrealism into Abstract Expressionism, Works on Paper, 1938 - 1948 (1987), The Figurative Fifties: New York Figurative Expressionism (1988), Hand - Painted Pop: American Art in Transition 1955 — 62 (1992), Helter Skelter: LA Art in the 1990s (1992), Out of Actions: Between Performance and the Object, 1949 - 1979 (1999), Ecstasy: In and About Altered States (2006), and Collection: MOCA's First 30 Years (2010).

Focused on painting and sculpture, it explores «visible reality through the analytical lens of the 3D computer - modelling world», delving into the relationship between the art object that takes visible reality as its point of reference, and the boundaries of verisimilitude between observable reality, art and science.

Cembalest writes that «the lowly status of Pollock's object - making has its roots in the artist's own day, when painting was considered the pinnacle of Abstract Expressionism — and sculpture, as Ad Reinhardt famously put it, was «something you back into when you look at a painting.»

He explains how his paintings are aimed to cleverly test an individual's perceptions, saying: «To have a painting that can exist as an alluring object and shift into an eroticised figure disarms and naturalises the modern gaze; decriminalising sex in art.

Despite the efforts of the above pioneers, along with those of inter-war artists Marcel Jean (1900 - 93), Joan Miro (1893 - 1983) and Andre Breton (1896 - 1966)- see their respective works Spectre of the Gardenia (1936, plaster head, painted cloth, zippers, film strip, Museum of Modern Art NYC); Object (1936, stuffed parrot, silk stocking remnant, cork ball, engraved map, Museum of Modern Art NYC); and Poem - Object (1941, Museum of Modern Art NYC)- junk art did not coalesce into a movement until the 1950s, when artists like Robert Rauschenberg (1925 - 2008) started to promote his «combines» (a combined form of painting and sculpture), such as Bed (1955, MoMA, New York) and First Landing Jump (1961, combine painting, cloth, metal, leather, electric fixture, cable, oil paint, board, Museum of Modern Art NYC).

As evidence of this ambient trend's beginnings, Pollock famously painted the engulfing «Mural» (1943) for Peggy Guggenheim, where he transformed the canvas into a whole wall instead of the usual small object of contemplation visually and physically dominated by the viewer.

While «painting as object» has often been a formalist issue, the works in this exhibition gather their identity through the subversion of formalism — scrambling and reassembling themselves in an aesthetic shell game where the act of painting is always an investigation of a painting's ability to push into objecthood.

Most popular in Germany and America, the style is characterized by large, figurative works, rapidly painted, often with objects, such as broken plates or straw, incorporated into their surfaces.

Later in the»80s, he began using objects as molds for acrylic paint («ready - nows,» as he dubbed them) which he then incorporated into his compositions.

As well as co-producing several Happenings with Klein, Arman is noted for his Neo-Dada style stamp prints («Cachets»), his later prints made from objects dipped into paint («Allures») a range of cut - up objects («Coupes») and smashed - up items («Coleres»As well as co-producing several Happenings with Klein, Arman is noted for his Neo-Dada style stamp prints («Cachets»), his later prints made from objects dipped into paint («Allures») a range of cut - up objects («Coupes») and smashed - up items («Coleres»as co-producing several Happenings with Klein, Arman is noted for his Neo-Dada style stamp prints («Cachets»), his later prints made from objects dipped into paint («Allures») a range of cut - up objects («Coupes») and smashed - up items («Coleres»).

Quaytman has also displayed her paintings on storage racks placed within the exhibition space, pointing to the eventual passage into obscurity of most aesthetic objects as they make space for others.

Curiously, as much as Reinhardt argued for a morphological history of objects, his writing expands (rather than contracts) his paintings into a nexus of activities, inquiries, and philosophies.

The paintings, again, were like objects because these were not flat planes, and then what he did with the plate paintings was that he expanded the canvas even more into three - dimensionality and transformed the existence of the painting as something that does not live solely on a flat plane, but has a presence, a volume and an inherent complexity.

While Remi's art has always been about creating dimension within the depths of a canvas or a wall, his new works have taken that idea in an exciting new direction, by transforming a three dimensional object such as a skull through the application of paint and by extracting complex shapes from the flat canvas into sculptural forms.