Sentences with phrase «material field of the painting»

Not exact matches

Materials science Hot fields include semiconductors and nanomaterials development, but don't forget about the synthesis of plastics, paints and lubricants.

Yes, arts learning may have social and moral and professional benefits, but if people don't value the materials of the fields themselves — if they can't say that if High School X doesn't acquaint students with Renaissance painting, classical music, and modern dance, its graduates will be undereducated — then arts educators lose in the competition for funds and hours in the day.

Joan assessed the crowd, lighting upon the most interesting: young men turning white T - shirts into art, pinching the material tight and rubber - banding each section until they looked like porcupines being dipped into huge steaming vats of colored dyes; the young woman with a bird's nest of purple hair sitting at a potter's wheel, slamming down hunks of clay, her hands moving nearly as fast as the wheel, cups, vases, plates, bowls, trays, appearing like magic; the elderly man in a worn blue linen suit, a jaunty straw boater on his head, a smeared palette tight in his hand, painting a mammoth canvas of people on a beach staring out at an ocean where a sailboat bobbed in the distance, though he himself was standing in a mowed field; the handsome young man at an old - fashioned school desk, a manual typewriter in front of him, a stack of paper to the side.

We are first met with Sam Moyer's Marshall Field's, a bronze and marble «painting» whose subtle curves describe a geometric composition through the presence and absence of the material.

The dye will saturate, run, and dry over the course of the exhibition — eventually turning the white felt from pale blue to almost black — transforming the material into a colossal color field painting, a rolling mountain landscape, or even the hump of a whale.

The artist's approach to painting includes utilizing the most intimate material residues of life — textiles, texts, and traces of objects — all transformed into active fields of energy, empathy and history.

At Theodore: Art, Eric Brown, in «Punctuate,» examines the tension of figure and ground in paintings that are fun and funny — caprices of 1960s Color Field art. 7 At David & Schweitzer, the esteemed Brenda Goodman finds expression in the working and reworking of her materials, with etched - over abstractions that read as psychological portraiture.8

The Mitchell - Innes & Nash exhibition poses that this idea, and others explored in Color Field painting, are critically relevant to developments in contemporary art: the notion of a painting rooted in process and material rather than gesture and reference.

Through the incorporation of materials culled from the everyday, she is able to address numerous artistic traditions including abstract expressionism, minimalism, and color field painting.

The rawness of the resulting colour fields, along with the large areas of unpainted canvas, gives many of his paintings a provisional feeling, emphasising his convictions about the independent life of the materials.

Works by the three artists in the exhibition utilize materials traditionally associated with crafting rather than the traditionally recognized artistic fields of painting, sculpture etc..

What resulted remained true to painting's basic materials while turning its traditionally flat surface into a field of topographical undulations that, interacting with light, appear to change a great deal as the viewer moves around them.

Artists now process information rather than material or even constructed experiences; viewed through this theoretic lens, even if an artist paints color - field paintings in 2014, the resulting paint strokes are the consequence of reprocessed information.

Now, for her new show, she's tackled the field of painting for the first time, creating elegant wall - mounted abstractions — she calls them «drawings» — by embedding tens of thousands of nickel - headed steel pins in Gatorboard, a polystyrene material often used for mounting prints.

The artist transports the viewer to this holistic in - between - stage by reformulating the constituents of painting as similar quintessential dualities: flat surface versus deep space, precision versus ambiguity, material versus ethereal, the grid - like composition of brightly colored dots versus animated, formative fields of homochromatic hues.

But Doig wanted to make «homely paintings» — of houses and train stations, fallow fields and frozen ponds, explorations of weather and light that used thickly layered surfaces, complex reflections, and the imperfections of his source materials.

His sophisticated layerings of varied materials call to mind the broad expanses of color field painting while creating a tangible experience of texture, movement and spatial depth.

But while Owens's work certainly plays on the conventions of Color Field, she draws from a wide range of source materials, including embroidery and Asian landscape painting, frequently commingling vaporous washes of color with frankly goofy representational elements.

Working with unconventional materials and techniques, Uklański resuscitates artistic vernaculars from a number of various historical movements, adopting the idioms or «dialects» of Art Informel, Color Field Painting, Abstract Expressionism and Fiber Art, among others.

His use of colour, form and material as elements in a compositional lexicon, as well as the stained or dyed fabrics which are his principal medium, declare the origin of his practice in the investigation of painting in an expanded field, while the way his compositions occupy and transform space are evidence of their sculptural nature.

A monumental monochromatic field of subdued color fulfills the role of straight - man to Prince's comic texts, sometimes presented plain and direct, sometime articulated in ghostly printed letters that seem to wax and wane in intensity across the canvas, and in the case of Untitled (Check Painting) # 13, text that has a material quality — painted over literal paper checks embedded into the canvas surface.

Hubbard's videos «The Collapse of the Expanded Field I - III» (2007) and «Lost Loose Ends» (2008) bring together an assortment of materials, such as poured paint, flowers being cut with scissors and a Mylar drape pierced and torn by an old - fashioned walking cane.

Bernhardt's materials include thinned, fluid pools of acrylic and assured, drippy marks of spray paint, connecting the works to both color field painting and graffiti.

Michelangelo, with an eye trained to the material weight of color, might have been comfortable with this form of sculptural painting, even if Tsao's abstract language is more akin to the late 1950s New York School, with Pollock's spattering giving way — at certain turns of mood or emotion — to sublime color fields reminiscent of Helen Frankenthaler or Ellsworth Kelly.

Throughout his career Terry Winters has explored a wide range of subjects from biological processes, scientific and mathematical fields, the structural underpinnings of nature, technology and the human mind as source material for his paintings, drawings and prints.

His work questions health and disease through the fields of medical imagery using both traditional and industrial materials from painting and construction.

As with Noland's earlier work, he continued to apply color as a physical material substance, but unlike his earlier hard edged paintings which rely on fields of dense color, for Into the Cool he used color through subtle tone and transparency.

At the same time, his work reflected the present, expressing the literalist perspective of the Color Field movement, epitomized by the idea that the force of painting must reside in its materials.

2017 Builders, Circuit 12, Dallas, TX Fantastic Facade, LVL3, Chicago, IL Deconstructed, Terrault Contemporary, Baltimore, MD 2016 Helter Skelter, Launch F18, New York, NY Water Work, Soho House curated by Patrick Muhundro and Andrea Bergart, New York, NY Transaction, Knockdown Center curated by Elijah Wheat Showroom, Queens, NY Knife Hits, Spring / Break Art Show, New York, NY Faulted Valley Fog, Transmitter, Brooklyn, NY Painting Reassembled, SUNY Westchester Community College curated by Erika Mahr, Westchester, NY 2015 Surface Matters, Knockdown Center curated by Holly Shen and Sam Katz, Queens, NY Handmade Abstract, BRIC, Brooklyn, NY Object» hood, Lesley Heller Workspace curated by Inna Babaeva and Gelah Penn, New York, NY 2014 Ultra Deep Field, Rockford University Art Gallery, Rockford, IL Site Lab, Old Morton Hotel, Grand Rapids, MI BRIC Biennial, BRIC Arts in partnership with LIU University, Brooklyn, NY Insider Joke, Hockney Gallery, Royal College of Art, London, UK 2013 Rushgrove House, Rushgrove House in conjunction with the Royal College of Art, London, UK Limber: Spatial Painting Practices, Herbert Read Gallery, Canterbury UK and the Grandes Galleries de L'Erba, Rouen, France Material, Storefront Bushwick, curated by Liz Dimmitt, Brooklyn, NY Middle Zone, Projekt 722, curated by Corydon Cowansage, Brooklyn, NY No Longer Preseidents But Prophets, Delicious Spectacle, Washington DC Inside Voices, Parallel Art Space, Brooklyn, NY Contemporary Drawing Today, Fort Worth Drawing Center, Fort Worth, TX Paint Things, DeCordova Museum and Sculpture Park, Lincoln, MA 2012 Bleach Blue, FJORD Gallery, Philadelphia, PA Primary, Nudashank, Baltimore, MD Masculinisms, Garden Party / ARTS, Brooklyn, NY Rockford Midwestern Biennial, Rockford Art Museum, Rockford, IL Fakin It, Meyer Gallery, University of Cincinnati, OH 2011 Living Arrangements, PLUG Projects, Kansas City, MO Off the Wall, Visceglia Gallery at Caldwell College, Caldwell, NJ Small Crowd, Mixed Greens, New York, NY Out of Practice, Art Blog Art Blog curated by Nudashank, New York, NY RISD Graduate Thesis Exhibition, Rhode Island Convention Center, Providence, RI New Insights, Art Chicago with NEXT cuarted by Suzanne Ghetz, Renaissance Society, Chicago, IL 2010 Interriuer / Exterieur, Dubois Galerie, Pont - Aven School of Contemporary Art, France Boston Young Contemporaries, 808 Gallery, Boston University Totemic, The Gelman Gallery, RISD Museum, Providence, RI

Whilst Grosse's painting finds expression above all on walls, on the facades of buildings, in living spaces, on earth, materials, balloons, polystyrene objects and canvases, she here chooses paper as the playing field for her painting.

Sacks» approach to painting utilises intimate material residues of life and often holds a personal significance — textiles, texts, and traces of objects — transforming them into active fields of energy, empathy and history.

This evaluation of both visual and bodily experience via materials and space has a precedent in work of the 1960s and 1970s, something well understood before the mid - «60s, when dogmas hardened around different styles like Pop, Minimalism, Color Field painting, etc..

The hanging masses are no longer simply the secondary results of a primary physical action, but also parts of an overall field where paint is manipulated as a physical thing in its own right rather than as a material designed to depict something else.

While these motifs suggest balloons, gun shots, fireworks and comets as well as force - fields, graphs and atmospheric phenomena, they may also simply be results of the properties of paint as a material.

I think of the field of energy as strongly immaterial while the painting is clearly very material: plastic paint on a stiff support.

Priscilla Heine has engaged in many years of exploration and development ranging from color field painting, years of autobiographical representational material, to austere landscapes and symbolic compositions inspired by a balance of internal and external landscapes.

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