Sentences with phrase «making text paintings»

Then, for his next show, «Strings Attached,» Lund burlesqued the conditions dealers put on sales by making text paintings that blared requirements like, «This Painting Must Be Sold to a Collector In Peru» or «This Painting Must Be Sold to a Golden Globes Winner.»

Does it help for Glenn Ligon to make text paintings an exercise in looking back, to everywhere he has lived?

Not exact matches

Betsy Franco's rhythmic, cumulative text makes this a lively read - aloud, and rich, luminous paintings by Stefano Vitale capture the bold beauty of nature.

In fact, the guidelines are practically spelled out in the printed program, which includes a rather explicit dress code: «A tight and / or short leather dress won't make the woman wearing it the most noticeable guest,» the text advises, «neither will a deep cleavage nor nails painted in three different colors.»

In many of my recent paintings, I am utilizing and playing with scale shifts of the letters, which is a new development from my previous body of work, which used a uniform text size to aid in making an image.

Since the early «90s, Tracey Emin has produced a body of work that encompasses all forms of artistic expression, including painting, print - making, drawing, film, photography, installations, appliqué, sculpture and neon text.

Her paintings, in contrast, make a great deal of text easy to read.

This expanded edition of Panorama includes a new text by Mark Godfrey that covers works made since the 2011 exhibition, including the Strip, Flow and Birkenau paintings, as well as an updated chronology.

Standout artists in the show include Tomashi Jackson, who uses Josef Albers's 1963 text Interaction of Color to explore the history of racial segregation in her painterly assemblages; David Shrobe, who creates surreal portraits by combining his figurative paintings and drawings with found materials; and Kennedy Yanko, who makes abstract sculptures by blending rubbery skins of poured paint and crumpled paper with bits of marble and scrap metal.

2014 Rothko to Richter: Mark - Making in Abstract Painting from the Collection of Preston H. Haskell, Princeton University Art Museum, Princeton, NJ It's What You Do With What You View»: Selections from the Dorothy and Herbert Vogel Collection, Bowdoin College Museum of Art, Brunswick, ME Art = Text = Art: Works by Contemporary Artists, UB Anderson Gallery, The State University of New York, Buffalo, NY

In the early 1990s, he made a few text paintings based on spicy quotes from Pryor routines.

These texts were reprinted with an equivalent of «puff paint» or raised ink, which Chun then tore, reconfigured and hand - dyed to cover shapes he adhered to the surface of his orignal model, from which Mixografia then made a mold.

One of the most important living American artist is still refining his relationship to colour and text — and still chasing the desire to make great 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.

The fact that the painting was comprised entirely of text was at first incidental, but the slowness of painting that text made me increasingly sensitive to the physical movements actually involved in using an interface like Google, namely typing.

We know a few things: he's 28, he makes graffiti - indebted AbEx - plus - text - ish paintings that sometimes arise from boisterous studio performances, his family moved to London from La Paila (Colombia) when he was 10, he often collaborates with his relatives, and he's the paradigmatic market phenomenon of our time, attracting ravenous financially minded collectors to view his canvases as magical money - expanders.

One can see this in two bodies of work: cultural representation is the primary issue in The African American Flag Project, where «African American» flags were the subject of the paintings; and the Made in USA series of paintings touch on the politics of consumption through self - referential text and image.

The 49 - year - old Bronx - born artist is probably most famous for his text paintings, which he's made since the»80s, appropriating words by everyone from Zora Neale Hurston and Ralph Ellison toRichard Pryor.

In her wall text, Zabel writes, «By exploding traditional modes of easel painting, Pop artists of the 1960s radically expanded the possibilities of how art is made and how it is viewed; thus they opened up multiple pathways for artists coming to maturity in later decades of the twentieth century.»

They recur in many of the large works Ms. Owens began making in 2013, where they join immense loops and squiggles, swaths of red gingham, printed wallpaper, text and crusty globs of paint.

Working in a variety of media: painting, drawing, photography, sculpture, knitting, quilting, and book - making, these artists employ their specific visual strategies with text as they engage the viewer.

In the text accompanying the exhibition, Desmett stressed the activity possible in the work's physical form and presentation; he acknowledged a «theatrical process» in the making of each painting.

NOME Gallery presents Iconographies, Quayola «s latest solo show in Germany, a continuation of an ongoing project that employs computational methods to translate iconic paintings into abstract compositions made of points, lines, geometries, hues, saturations, and texts.

In Ligon's paintings, the instability of his medium — oil crayon used with letter stencils — transforms the texts he quotes, making them abstract, difficult to read, and layered in meaning, much like the subject matter that he appropriates.

Several artists in the exhibition reject traditional categories of painting and sculpture to explore new modes of art making which result in a plethora of unprecedented aesthetic and critical practices, ranging from industrially produced geometric abstractions, negating the hand of the artist, to text - based investigations.

Painted on such unconventional materials as mattress fabric, offset wood and a box from a pharmacy, they make up for their scattershot, unrefined nature with a taste of the shape of things to come: raw visages, scrawled text and an obsession with the organisation of space.

Making a name in the New York art scene in the early 1980s, Christopher Wool is best known for his word paintings, white canvases with black stenciled letters spelling out text like «Sell the house, sell the car, sell the kids» (in his 1998 work Apocalypse Now).

[11]» Art Historian Robert Hughes vehemently criticized lack of painting, and the «wretched pictorial ineptitude» of the artists, dismissed the abundance of text as «useless, boring mock documentation», and mocked the focus on «exclusion and marginalization... [in] a world made bad for blacks, Latinos, gays, lesbians and women in general.

Fine lines of cadmium yellow text on white ground in another group of paintings were made almost invisible by their intensity, as though the viewer had moved from the darkness of the void to the brightness of the sun.

Some of the works included in the exhibition explicitly engage with Eliot and his writing, such as Philip Guston's grim deathbed painting East Coker: T.S.E. (1979); David Jones's painted inscription Nam Sibyllam (1958), made as a gift for Eliot, which combines the text from Petronius that is The Waste Land's epigraph with the opening lines of the poem and other phrases connected to the Grail myth; Graham Sutherland's two Illustrations for T. S. Eliot (1973); and Vibeke Tandberg's The Waste Land (2007), which consists of 36 collages in which the artist has cut out each of the words of the poem, and re-organised them alphabetically and in groups, at once fragmenting Eliot's poem of «broken images» even further and bringing its underlying verbal structure to light.

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 freezepaintings 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 freezepaintings 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 freezepaintings 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 freezePaintings 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 freezepaintings reimagine the still life as a chance freeze - frame.

Born in 1955, Wool made his public mark with the text paintings, and their chill still sets them apart, despite a banality convenient to the art market and collectors.

Baldessari, 84, was cited on Thursday by the NEA for his «ambitious work [that] combines photography, painting and text to push the boundaries of image, making him one of the most influential conceptual artists of our time.»

Jess Fuller Born 1972, Portland, Maine, US Lives and works in Brooklyn, NY Education University of Iowa, Master of Fin e Arts, Painting, Iowa City, US Boston University, Bachelor of Fine Arts, Painting, Boston, US Solo Exhibitions 2017 Canada, New York, US 2015 Fairy Smoke, Herald St, London, UK Planet without a body, Martos Gallery, New York, US 2012 NADA Miami, Martos Gallery, Miami, US Jellie, organized by Mary Grace Wright, Martos Gallery, New York, US 2011 Washed up and bleached out, organized by Jens Peter Brask, Galleri Tom Christoffersen, Copenhagen, DK Group Exhibitions 2016 Fort Greene, curated by Adrianne Rubenstein, Venus, Los Angeles, US Re-Planetizer, curated by The Pit, Regina Rex, New York, US Inside Out, Berthold Pott Gallery, Cologne, DE 8 Femmes, Office Baroque, Brussels, BE 2015 BFA Boatas, Sao Paulo, BZ Call and Response, Gavin Brown?s Enterprise, New York, US I Can?t Wait to GetOff Work, Bannerette, New York, US 2013 The Fruit Loop, Soloway, New York, US Beach Painting Club, Paddle 8 Silent Auction, NY Limits of Desire, 7 Dunham, New York, US A la Carte, Minimal Art, Shoot The Lobster, New York, US 2012 Temperature, curated by Hillary Doyle and Reid Hitt, Projekt722, New York, US Made with Mustard, East Hampton Shed, East Hampton, US Slowed and Throwed, Chinatown Arcade, New York, US Bred and Fed, organized by Mary Grace Wright, Shoot The Lobster, Iowa City, US The Cat Show, Tomato House, Brooklyn, US Dallas Art Fair, Martos Gallery, New York, US New Traditionalists, organized by Mary Grace Wright, Martos Gallery, New York, US 2011 Text / Image, SOUTHFIRST, Brooklyn, US The Idea of the Thing..., organized by Rachel Uffner, Halsey McKay, East Hampton, US BNA: From Brooklyn to Nashville, ZieherSmith pop - up gallery, Nashville, US Tensile Strength, ZieherSmith, New York, US Monochrome, The Journal Gallery, Brooklyn, US Group Expo, The Armory Show, Canada Gallery, New York, US The Balloon, SOUTHFIRST, Brooklyn, US A PERSON OF COLOR: a mostly orange exhibition, organized by Jose Lerma, The Green Gallery, Milwaukee, US 2010 SALAD DAYS, The Journal Gallery, Brooklyn, US Material Issue and Other Matters, organized by Wallace Whitney and Michael Mahalchick, Canada Gallery, New York, US Selected Press 2015 Steer, Emily,?

Edwin Burdis's table made from a painting of a fig is exhibited alongside a text - painting based on his recently composed opera, performed at Wysing in early January.

Although he no longer paints, he still wishes to present something on a wall - neon messages, ambiguous texts, minimal works made of Sellotape, Blu - tack or Elastoplast.

Kandinsky's manifesto «On the Spiritual in Art» (1911) served as Der Blaue Reiter's sacred writ and inspired not only Klee's early paintings but also his own seminal text, «Creative Credo» (1920), whose punchline, «Art does not reproduce the visible; rather, it makes visible,» influenced both his contemporaries and his Surrealist scions.

Along with the more traditional mediums of painting, photography, drawing, sculpture, conceptual, video and performance art we also encourage the submission of sound, text, spoken word, dance, comedy, cooking, large scale painting... As a new century begins and the last still informs every move we make an anxiety of where we are takes many forms from the personal to the political.

As text augmented «digital paintings» made by and featuring «living sculptures», they exist outside straightforward aesthetic categorisation.

The artist makes a trenchant joke by choosing these big paintings — whose text is periodically underlined with impasto pink or gruesome, runny red paint that knowingly fetishizes her own hand — as her contribution to the loaded context of the Biennial.

Wassily Kandinsky was one of the most influential painters of the twentieth century, and this text, in which he laid out the tenets of painting as he saw them and made the case for nonobjective artistic forms, is universally recognized as an essential document of Modernist art theory.

see abstract snatches of Lund's Strings Attached, a series of 24 text - based paintings on fabric wallpaper, or The Paintshow, an exhibition Lund did that features paintings made on his Microsoft Paint - like website, Paintshop.biz.

Thompson did not stop making art; text work, performative photographic pieces, objects and large - scale sculptural installations which were widely exhibited, but he did not return to painting until he retired from education and was able to devote himself to â $ the day - to - day involvement that a serious painting practice requiresâ $.

Combining quilt making, genre painting, and story telling through images and hand - written texts, the series «The American Collection» (1997) endeavors to rewrite African American art history, emphasizing the importance of family, roots, and artistic collaboration.

Zhang Huan's solo exhibition at Pace Gallery, Let There Be Light (through December 5), includes the largest ash painting Zhang's made to date as well as a new series of ash paintings that use the language of Braille to transcribe western texts including the Bible and the Star Spangled Banner.

Alex Ramsay: Paintings and related works 2000 - 2010 In this selection of works made during the last ten years Alex Ramsay explores his concern with mapping and notions of narrative through a series of large scale abstract paintings, text based paintings, and a group of small sculpturPaintings and related works 2000 - 2010 In this selection of works made during the last ten years Alex Ramsay explores his concern with mapping and notions of narrative through a series of large scale abstract paintings, text based paintings, and a group of small sculpturpaintings, text based paintings, and a group of small sculpturpaintings, and a group of small sculptural works.

The exhibition «In a Word», his most comprehensive to date, spans many text, sound, painting, drawing, sculpture, and performance, including works made in collaboration with esteemed theater director Robert Wilson.

Chambers also makes books and zines, which bring together his drawings and texts and which are included here alongside his paintings.

Quayola's new exhibition «Iconographies» represent a continuation of an ongoing project that employs computational methods to translate iconic paintings into abstract compositions made of points, lines, geometries, hues, saturations and texts.

Originally referring to the ecstatic verses created by ancient Greek followers of Dionysus, the term, for him, stands for what the wall texts call «the primacy of the artist's expressive power over the subject» — that is, the nominal subject that triggered the improvisatory process of picture - making loses its original meaning by being translated into this new state of being, since any painting is both abstract and a fiction.