Sentences with phrase «materials of classical painting»

Not exact matches

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.

Where there's little modeling in work by Leon Golub and George Cohen, Lerner's paintings and drawings have always had a sense of volume, and his work since the 1970s has continued to tap similar mythic and metaphorical material (mummies, hanged or tortured figures) but in a more classical figurative style.

The oversized canvases, abundance of materials used, and divergent techniques in which collaged media and imagery were sourced from classical and contemporary culture then applied effusively in a thickly layered manner are characteristics of Schnabel's continued exploration of painting itself.

I am drawn to minimal work, classical work, clear work, and also to the feel of paint and materials, touch, the evidence of the hand and a kind of convergence of process and viewers» experience of the work.

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.

Combining classical influences with Neo-Expressionist features and processing themes such as sexuality, obsession, suffering, death and belief, Schnabel plays with both abstraction and figuration with the use of found materials, fragments of language, paint, and digital reproduction.

Extending across the entirety of the museum, the exhibition allows for free association between artists and the themes they address: at once playful and dynamic, works from Ryan Gander, Institute for New Feeling, Liu Wa, and Yangzi invite audiences to explore a wealth of possibilities through combinations of meditation and wry humor; classical mediums of sculpture and painting are reinvented by Yngve Holen and Austin Lee; insidious implications of our hi - tech society are skewered by Lawrence Abu Hamdan and aaajiao; the powers of synthetic materials over human desire are brought to the fore by Sean Raspet and Pamela Rosenkranz; and products of Internet culture are given to refined study with Gillian Wearing and Amalia Ulman.

Thus an almost entirely abstract painting like Stil (Style)(1977) hangs adjacent to one of Lüpertz's reworkings of a classical subject, Satyr + Nymphe II (Satyr + Nymph II)(2014); and one of his many portrayals of the human back, Nacht (Night)(2013) hangs next to a painterly treatment of building materials, Holzschindeln — dithyrambisch (Wood Shingles — Dithyrambic)(1966).

His sculptures use natural colored marble, paint and found materials to create figures reflective of animation, popular culture, and even classical heroic figurative sculpture.

Often working with industrial materials — painted wood, paving slabs, plastic cord, metal fencing and corrugated iron — her installations have a seemingly improvised and temporary attitude, but are rigorously considered, combining an almost classical formalism with a kinetic energy generated by poised, provisional and precarious compositions and her attuned use of materials.

The paintings in this series are produced using the classical oil painting methods and materials of the Old Masters — successive layers of warm and cool black pigment glazes varnished to a highly reflective surface resulting in a profoundly deep pictorial space.