Sentences with phrase «modern painting language»

Fragmented bodies, compositions and coloration reference a modern painting language.

Not exact matches

By the time death squads are cruising the streets and babies are being raffled for charity, Samson's dry, plain language has tricked us into accepting her reality, painting a picture of the modern American hellscape where we're only too eager to put our birthright on the auction block to make a quick buck.

It brings together historical still life paintings and contemporary artworks that seek to use the language of the past for modern audiences.

Modern Times: American Art 1910 — 1950 looks at the new and dynamic visual language that emerged during this period, and its dramatic impact on painting, sculpture, printmaking, photography, architecture, and the decorative arts.

Szyszlo's paintings distill vast areas of culture, European and American, modern and ancient, into a visual language that is his own.

Iva Gueorguieva adapts the visual language of modern abstraction to create tumultuous, energetic spaces on canvas; her process of building up paintings by layering torn cloth with pigment and color washes produces spontaneous, dynamic compositions rooted in personal stories.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century - of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life - continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

Whether in his paintings or his installations, his formal world has always transformed the condition of contemporary society, concentrating a chaotic and constantly shifting modern china into a dynamic artistic language.

March saw his landmark debut with Nosei: Jeffrey Deitch praised his «ability to merge his absorption of imagery from the streets, the newspapers and TV with the spiritualism of his Haitian heritage, injecting both into a marvellously intuitive understanding of the language of modern painting» (J. Deitch, quoted in Jean - Michel Basquiat, Tony Shafrazi Gallery, New York, 1999, p. 326).

The Korean Cultural Center Washington, D.C. is proud to present Scent of Ancient and the Modern, a new exhibition highlighting the ancient heritage and contemporary artistry of the Korean written language, Hangeul, through striking works combining calligraphy, ink painting, and poetry, on display October 8 â $ «31.

While the pairing of their techniques represents stylistic extremes — Bresson's classical roots in Renaissance and Baroque painting and Prata's borrowing of multiple modern styles — together they build a language around representations of movement and stillness, reality and incongruity, tragedy and humor.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century — of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life — continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

Surreal Dialogue: Works by Ji Yoon Hwang and Soyoung Kim, a new exhibition of painting and fabric installation works by two young Korean artists whose diverse, complimentary works explore the language of emotional discomfort in modern society through subtly unsettling images and tactile sensations.

In GG2 (short for «Grey Greek»), drawn on Gagosian Gallery stationery, he fuses Greek vase painting with modern influences like Matisse's cut - outs and Hockney's interiors, creating a unique visual language.

Exploring the very nature of painting, both as a form of a visual language and a vehicle of mere expression, Howard Hodgkin rejected any classical and modern art canons.

Farouk Hosny's paintings are composed with exquisite balance, enigmatic imagery and dynamic palette; they speak the language of modern world through the use of abstraction.

Although Davie's roots were in Scottish painting, and close to the warmth and vivacity of modern French art, Davie created his own unique artistic language, related to the diversity of his interests.

In this exhibition organized by the Astrup Fearnley Museum of Modern Art, Oslo, we have decided with the artist to concentrate on his paintings and to explore and present the multiplicity of his pictorial language and narrative structures as they have evolved over the last two decades.

In his works, Lan successfully transmits traditional Chinese calligraphy's freehand strokes into the structure and expression of modern painting, resulting in an abstract language that marries the traditional and contemporary, simultaneously capturing the Chinese mind but appealing to the Western thought as well.

The Americans had broken away from the European and especially French tradition of modern painting, or, in the period language, «the tasteful cookery of oil pigment, the direct backing of the Old Masters and all precedence of rules», as Hess wrote in his obituary of Kline.50 As is recorded in one of the news reports of the acrimonious exchange between Fautrier and Kline at the Venice Biennale of 1960, when Fautrier pronounced an insult to the effect of «U.S. Go Home!»

Art critic Louisa Buck recalls first edition fig - 1 in 2000, painting a picture of the second edition of the project and the changes in the contemporary art world in the intervening fifteen years; Director of the Contemporary Art Society Caroline Douglas explores shifting models of philanthropy and patronage in the arts; Serpentine Gallery co-director Hans - Ulrich Obrist discusses curatorial approaches and the role of the institution with Fatos Ustek; Writer and lecturer Gilda Williams uses the fig - 2 programme as a vehicle to explore language and differing approaches; Tate Modern Curator of performance Catherine Wood dissects the role and impact of performance?

This exhibition of new paintings combines iconography from Fifteenth through Eighteenth Century etchings and eerily modern images of anthropomorphic larvae, plants, and figures, reinforcing Immendorff's unique language in imagery.

Kathy Halbreich, director of Walker Art Center, Minneapolis, writes about the range of influences he absorbed: «From his early drawings rooted in a European Surrealist tradition to his monumental abstract canvases, Motherwell's visual language synthesizes a veritable history of modern painting, reflecting ties to Picasso's early collages, Matisse's color - rich paintings, and the development of American Abstract Expressionism in which he played such a pivotal role».

With many modern artists, and certainly with the first abstract artists, the figure / ground concept has become an important visual means for developing a personal visual language, for instance in Matisse's paintings on dance and the large collages from the last years of his life.

Abstraction is a language primed for becoming a representation of itself, because as much as it resists the attribution of specific meanings, the abstract mark can not help but carry with it an entire utopian history of modern painting.

As then art critic Jeffrey Deitch said in 1982, «Basquiat's greatest strength is his ability to merge his absorption of imagery from the streets, the newspapers, and TV with the spiritualism of Haitian heritage, injecting both into a marvelously innovative understanding of the language of modern painting» (J. Deitch, «Jean - Michel Basquiat: Annina Nosei,» Flash Art 16, May 1982, p. 50).

Modern Times: American Art 1910 — 1950 examines the new and dynamic visual language that emerged during this period and had a dramatic impact on painting, sculpture, printmaking, photography, architecture, and the decorative arts.

Moving away from his iconic Blackboard paintings, Twombly sought a new visual language to express the modern times in which he lived.

The sculptural element of the show comprises 100 delicately wrought golden boats that ride the choppy but invisible waves of time, and the Fair Wheel paintings speak in a visual language that is both ancient and immediately understood by the modern eye.

• «All of #Basquiat's force lies in his capacity to merge the images taken from the street, newspapers, television and the spiritualism of his Haitian legacy in order to place these two elements at the service of a marvelous intuitive understanding of language and modern painting.»

She makes playful use of a palette of styles and visual languages that ranges from Renaissance painting to modern art, combining them with everyday observations and humorous references to pop culture and pornography.

Here the artist has arrived at a new structural language of color that was to define his most famous body of works, The Seagram Murals, painted at the same time and which today constitute the celebrated Rothko Room at the Tate Modern, London.

His books include Scene jezika [Scenes of language](Belgrade, 1989), Pas Tout (Buffalo, 1994), Prolegomena za analitičku estetiku [Prolegomena for analytical aesthetics](Novi Sad, 1995), Postmoderna [Postmodernism](Belgrade, 1995), Asimetrični drugi [The asymmetrical other](Novi Sad, 1996), Estetika apstraktnog slikarstva [Aesthetics of abstract painting](Belgrade, 1998), Pojmovnik moderne i postmoderne likovne umetnosti i teorije posle 1950 [Glossary of modern and post-modern visual arts and theory after 1950](Belgrade and Novi Sad, 1999), Paragrami tela / figure [Paragrams of body / figure](Belgrade, 2001), Anatomija angelova [Anatomy of angels](Ljubljana, 2001), Figura, askeza in perverzija [Figure, asceticism and perversion](Koper, 2001), Martek — Fatalne figure umjetnika: Eseji o umjetnosti i kulturi XX stoljeća u Jugoistočnoj, Istočnoj i Srednjoj Europi kroz djelovanje umjetnika Vlade Marteka [Martek — Fatal figures of the artist: essays on 20th - century art and culture in South - Eastern, Eastern and Central Europe through the work of Vlado Martek](Zagreb, 2002), Impossible Histories — Historical Avant - gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 — 1991 (Cambridge Mass, 2003), Politike slikarstva [The politics of painting](Koper, 2004), Pojmovnik suvremene umjetnosti [Glossary of contemporary art](Zagreb and Ghent, 2005), Konceptualna umetnost [Conceptual art](Novi Sad, 2007), Epistemology of Art (Belgrade, 2008) etc..

[1] The factors identified here were traceable to Figure in a Landscape, 1945 which, coming between the defining triptych Three Studies for Figures at the Base of a Crucifixion, 1944 (Tate Gallery N06171) and Painting 1946 (Museum of Modern Art, New York), [2] was the first painting in which Bacon established his post-war lPainting 1946 (Museum of Modern Art, New York), [2] was the first painting in which Bacon established his post-war lpainting in which Bacon established his post-war language.

The installation of «Stills» marks the first time that the complete series has been displayed in New York and is presented alongside other prominent works by the artist: her groundbreaking series «Modern History» (1977 — 79), which pioneered photographic appropriation; the alluring and exacting «Objects of Desire» (1983 — 88) and «Renaissance Paintings» (1991), which continued Charlesworth's trenchant approach to mining the language of photography; «Doubleworld» (1995), which probes the fetishism of vision in premodern art; and her radiant latest series, «Available Light» (2012).

This fully illustrated catalogue accompanying Charlesworth's first major survey in New York features series such as Stills (1980), a group of 14 large - scale works rephotographed from press images that depict people falling or jumping off buildings; Modern History (1977 - 79), which pioneered photographic appropriation; the alluring Objects of Desire (1983 - 88) and Renaissance Paintings (1991), which continued Charlesworth's trenchant approach to mining the language of photography; Doubleworld (1995), which probes the fetishism of vision in pre-modernist art and marks Charlesworth's transition to a more active role behind the camera; and her final series, Available Light (2012).