Sentences with phrase «line art movement»

Exclusively - commissioned art piece with gold foil accents from Danish artist Fylla Giessing — inspired by the one - line art movement.

Not exact matches

The psychedelic influence of the label artwork, designed by Marq Spusta as part of Dogfish Head's Off - Centered Art Series, was influenced by the legacy of the Flaming Lips and the culinary components in Dragons & YumYums shown through radiating lines, movement of fire, dancing lips, rainbows and bold pink colors.

Find creative writing activities about the immigrant experience, historical time lines of the civil rights movement, slideshows of famous women suffragists, art activities for celebrating community helpers, lesson plans for learning more about wars and the soldiers who fight them, and much more.

Amsterdam - based illustrator Stefan Glerum has a distinct style that is recognised and respected across the world, and his work is inspired by early 20th Century movements such as Art Deco, Bauhaus, Italian Futurism and Russian Constructivism, which he combines with popular themes, executed in a hand drawn style reminiscent of the clear line.

Singling out the season's most tweet - worthy, opening night acolytes tracking our Black Art Matters moment orbited Lars Fisk's satirical softballs at Marlborough Chelsea, lined up outside Hauser Wirth for Rashid Johnson's black soap, shea butter and horticultural installations that comment obliquely on cleansed grime and forced growth, and crowded into Jack Shainman's galleries for Meleko Mokgosi's large - scale, text - supported paintings which illustrate the interrelationship between southern African liberation movements and communism, offset by «lerato», the Setswana word for love.

The faded surface of «Corrupt Diptych» is haunting, like the distinct sensation of déjà vu, the dirt and gravel is metaphorical not material, moving this artwork away from hyphenated arts (art - and - environment) towards something more mysterious with its abstract lines that race past the corner of the gallery's gyprock wall; themes of time and movement that have more in common with land art than abstract painting.

Much of the movement's formal approaches to line, form, and color have entered the repertoire of contemporary art, as seen in the accomplished work in this group show.

Morellet's emphasis on method over finished form — his work was largely predicated on chance and constraint — put him in line with the minimal and conceptual movements that would come to dominate the contemporary art of the period.

Agee doesn't worship at the temple of hard - and - fast lines between the Ashcan School, Ab - Ex, Color Field, etc., arguing that many artists» careers bridge those eras and that an art history broken down by movements hauls in names who wouldn't make it in otherwise.

Influenced by Minimalism, as well as a wide range of European and Asian art movements, Kauffman worked in a clean - lined aesthetic that was by turns gestural and evocatively sensual.

The ideas within Estes» paintings in Dispatches from the Front Lines come out of the feminist art movement of the early seventies and the subsequent flowering of the pluralism and inclusiveness of that time.

In what some people view as a second black civil rights movement, combative lines are drawn, and their tautness is evident even in the cushioned art world, which is shocked to discover, all of a sudden, that white artists are no longer automatically free to collect big rewards for telling the story of African America.

This essay from Phaidon's Art in Time explores the participatory movement, which saw a blurring of the line between artist and viewer.

Considered a forefather of the Pop Art movement, Stuart Davis translated the visual imagery of New York City and the jazz music of the mid-20th Century into iconographic abstract paintings of squiggly lines and flashy colors.

l Los Diez moved abstraction from purely visual, formal concerns toward conceptual and phenomenological ends, in line with other contemporaneous international art movements, to engage both the viewer and the broader collective conscience of Cuba.

L'art pour l'art is perhaps one of the most famous lines in all of art history and it is closely related to formalist movement.

A leading member of the Kinetic and Op Art Movements of the 1950s and»60s, Venezuelan artist Carlos Cruz - Diez has dedicated his practice to the exploration of color, line, and human perception.

And through an experimental approach to material, and an inventive handling of undulating line and geometric pattern, she proceeded to advance not only textile art, but also the course of abstract art — a movement that her male contemporaries Paul Klee, Wassily Kandinsky, and her husband Josef Albers are sooner recognized for.

And so, Raad's astringent performance and sizable exhibition of works associated with the long - term project Scratching on Things I Could Disavow (2007 — ongoing) delve into the after - effects of violence in the Middle East that are not only political but also economic, such as the creation of a retirement fund for artists that blithely hops across the major fault line of the Arab — Israeli conflict, or the construction of new museum projects in the Gulf, or the movement of Raad's own work in relation to art - historical narratives in different places and times that exert various pressures on him, which at one point appear to drive the artist - as - performer insane.

Brantley found his first foray into the art world through murals from the Afro Cobra movement of the 60's & 70's lining the walls of the South Side of Chicago.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

The exhibition explores two key characteristics that remain associated with drawing in today's expended field of art — and these are line and movement.

Peckham - based artist, graffiti writer and contemporary artist Remi Rough stands apart from other street art - leaning practitioners in that his work is often referred to as «visual symphonies», thanks to his keen eye for the geometrical treatment of form, colour, line and space, and inspired by avant - garde movements such as Suprematism and Italian Futurism.

So many of the leaders in these movements were young men and women who followed the line of least resistance that, with the killing of some of the men, and the consequent distraction from art to other channels of occupation by the women, there will be a diminution of objective interest in new «Fads,» and a consequent return to saner methods.

While these boundaries have been questioned, challenged and straight up abolished during multiple decades and artistic movements, no better example of the line being blurred could be found than in Bushwick's art events this week.

At 92 years - old, Venezuelan artist Carlos Cruz - Diez continues to influence the kinetic and op art movement with his entire career focusing on color, line and perception.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

In line with the curatorial focus of DIASPORA: Exit, Exile, Exodus of Southeast Asia, a group exhibition of contemporary art from Southeast Asia about the movement of people in the region since the Vietnam War, and its related aspects of migration, displacement, return, and hybridity, and in support of MAIIAM Contemporary Art Museum's dedication to research and education, we are pleased to present a specially curated screening programme on 14 and 15 Aprart from Southeast Asia about the movement of people in the region since the Vietnam War, and its related aspects of migration, displacement, return, and hybridity, and in support of MAIIAM Contemporary Art Museum's dedication to research and education, we are pleased to present a specially curated screening programme on 14 and 15 AprArt Museum's dedication to research and education, we are pleased to present a specially curated screening programme on 14 and 15 April.

Here, around one hundred works of art invite the visitor to find out more about the special focus areas of the Daimler Art Collection: the constructivist and concrete tendencies evident in the pictures of Josef Albers, Anton Stankowski and Camille Graeser, the interaction of line, surface and space in works by Georges Vantongerloo, Norbert Kricke and Ben Willikens, pictures and decorative objects of the zero avant - garde of around 1960, classics of the Minimal Art movement by Charlotte Posenenske or Franz Erhard Walter from around 1970, and recent photographic and video works by artists from India, South Africa and the art invite the visitor to find out more about the special focus areas of the Daimler Art Collection: the constructivist and concrete tendencies evident in the pictures of Josef Albers, Anton Stankowski and Camille Graeser, the interaction of line, surface and space in works by Georges Vantongerloo, Norbert Kricke and Ben Willikens, pictures and decorative objects of the zero avant - garde of around 1960, classics of the Minimal Art movement by Charlotte Posenenske or Franz Erhard Walter from around 1970, and recent photographic and video works by artists from India, South Africa and the Art Collection: the constructivist and concrete tendencies evident in the pictures of Josef Albers, Anton Stankowski and Camille Graeser, the interaction of line, surface and space in works by Georges Vantongerloo, Norbert Kricke and Ben Willikens, pictures and decorative objects of the zero avant - garde of around 1960, classics of the Minimal Art movement by Charlotte Posenenske or Franz Erhard Walter from around 1970, and recent photographic and video works by artists from India, South Africa and the Art movement by Charlotte Posenenske or Franz Erhard Walter from around 1970, and recent photographic and video works by artists from India, South Africa and the US.

As has been explored in more predominantly historicized art movements, Yokono embellishes upon the Japanese fascination (and celebration) of the delicate line between life and death, beauty and vulgarity, or normalcy and the bizarre.

One of the most dynamic contemporary choreographers working today (he's most recently known for collaborating with artist Olafur Eliasson and indie music producer Jamie xx in their experimental ballet Tree of Codes), McGregor's works use collaborative and synchronized movement to blur the lines between science, technology, and the arts, and Atomos is no exception.

Since the 1960s, her work has transcended the numerous «posts» and «isms» of the art world's different movements, all the while interrogating our bodies and identities, questioning art's relation to life, and testing the lines between the real and the virtual.

Alluding to Color Field, a style characterized by large, highly simplified compositions in which the use of color is independent of line and figuration, Scharf connects with modernist art movements by creating new hybrids, almost as if these earlier forms of art had been placed in a blender.

The line up, selected by Ron Berry, Fusebox founder, and two new curators on the Fusebox team, Anna Gallagher - Ross and Betelhem Makonnen, includes Charles O. Anderson's immersive movement piece, (Re) current Unrest, Rude Mechs's The Cold Record, and Bessie Award winning Abby Z and the New Utility's hyper - physical dance, Abandoned Playground, Grackle Call by Collide Arts / Steve Parker, Justin Shoulder's late night Hub show Carrion, Canadian performing arts group Mammalian Diving Reflex in All the Sex I've Ever Had and much mArts / Steve Parker, Justin Shoulder's late night Hub show Carrion, Canadian performing arts group Mammalian Diving Reflex in All the Sex I've Ever Had and much marts group Mammalian Diving Reflex in All the Sex I've Ever Had and much more.

Emerging from her studies about the time of the Op Art movement and that seminal exhibition, The Responsive Eye, presented at the Museum of Modern Art in New York in 1965 and organized by William C. Seitz, Rector could not help but be influenced by the hard - edge structures, dizzying lines, geometric forms and high key and high contrast colors that created optical and illusory effects challenging visual perception.

Working from left to right, Reed produced broad bands of disrupted movement on tall canvases that read like a time - line from his break with conventional art practices at that time.

The abstract art that he called «perceptual painting» — sharply delineated lines and sections of color that seemed to change or move based on the light and the viewer's movements — made a major cultural impact when Stanczak's first show, Optical Paintings, opened in New York in 1964.

Characterized by his use of line, gesture, and movement, De Niro's art is grounded in the act of painting and drawing, not subject matter, while also often referencing European masters from Delacroix to Matisse.

Associated with both the Bay Area Figurative Art movement and abstract expressionism, California painter Richard Diebenkorn developed a distinct vocabulary of intersecting lines and geometric forms augmented by chromatic undercurrents.

From gun control to arts education, the body is the front line for social justice movements.

Also included are several pieces by members of Arte Povera, the 1960s Italian movement that used everyday materials as a way to blur the lines between art and life.

Brian Wills is fond of this artifice, this fiction that means his art works change continually, allowing him to explore line and colour, depth and movement.

The artist came to believe that what was essential in art — given the diversity of themes or motifs — were two universal requirements: that every work of art has an individual order or coherence, a quality of unity and necessity in its structure regardless of the kind of forms used; and, second, that the forms and colors chosen have a decided expressive physiognomy, that they speak to us as a feeling - charged whole, through the intrinsic power of colors and lines, rather than through the imaging of facial expressions, gestures and bodily movements, although these are not necessarily excluded — for they are also forms.

The symposium will consist of lectures and discussions placing the historical fall of the Berlin wall in a single line with the dynamic movements, exchange, and mutual organic influences that appeared in the contemporary art of the Northeast and Southeast Asia.

Much more recently, text has played a central role in modern and contemporary movements: Georges Braque's Cubist paintings featured words tucked between lines of fractured geometry, while Roy Lichtenstein's cartoonish Pop Art paintings often contained quote bubbles.

From the Automatistes in Montreal to the conceptual art movement in Halifax, to the influence of Clement Greenberg through the Emma Lake workshops on the Prairies in the 1940s, the visual language of shape, form, colour and line that exists for its own sake without reference to external reality, changed the artistic landscape in this country.