Sentences with phrase «modern practice of painting»

Building upon an established canon of geometrical abstraction, which began with Wassily Kandinsky's gestural works and Malevich's 1915 compositions, Scully's oeuvre gradually reinstates poetry into the modern practice of painting.

Not exact matches

Over the past two years, she has transformed her practice, producing large - scale and multi-panel paintings first presented at the 2015 Venice Biennale, and in 2016 at Salon 94 and the Modern Art Museum of Fort Worth in Texas.

The contrast between the reclaimed «artistic» waste and the richness of the paint highlights a dynamic tension between Ruby's contemporary practice and the early - modern belief in the supremacy of «pure artistic feeling» over the visual depiction of objects.

Showcasing the modern mastery of his paintings, while also presenting the «other stuff» which has drawn less attention over the years — drawings, woodcuts, collage, sculpture, photography and video — the exhibition demonstrated the depth, breadth and intellectual rigor of Marshall's Chicago - based practice.

Screening: «An Evening with Raha Raissnia» at the Museum of Modern Art The Iranian - born artist and filmmaker presents an evening of her multidisciplinary practice, which combines painting, drawing, filmmaking and performance.

Both guests happen to be teachers, and they have much to say regarding the state of painting today, in light of local practice as well as the positive presence of modern masters «haunting» the art fair.

The culmination and continuation of extensive curatorial research across India, Indian Highway features nearly thirty individuals and collectives whose creative practices span a wide range of media — incorporating sculpture, video, installation, painting, and performance — and subject matter are focused around the situation of modern India.

Indira Allegra, artist indiraallegra.com Beth Bird, documentary filmmaker and PhD candidate in the Department of Film and Media at the University of California, Berkeley Robin Clark, Director of the Artist Initiative, San Francisco Museum of Modern Art Gregory G. Geiger, artist gregorygeiger.net Maria Elena González, artist and associate professor, Sculpture and New Genres at the San Francisco Art Institute Tim Hyde, artist and assistant professor, Department of Art and Art History, University of California, Davis timhyde.info Amanda Hunter Johnson, conservator, San Francisco Museum of Modern Art Tomoko Kanamitsu, program associate, Higher and Continuing Education, Education and Public Practice, San Francisco Museum of Modern Art Emily Liebert, associate curator of Contemporary Art, Cleveland Museum of Art Peggy Phelan, Ann O'Day Maples Chair in the Arts, Professor of Theater & Performance Studies and English, Stanford University Sarah Roberts, Andrew W. Mellon Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art Kaeleigh Thorp, graduate student in Museum Studies at the University of San Francisco Meredith George Van Dyke, curatorial assistant, Painting and Sculpture, San Francisco Museum of Modern Art John Zarobell, associate professor and undergraduate director of International Studies at the University of San Francisco

Indira Allegra, artist Beth Bird, documentary filmmaker and Ph.D candidate in the Department of Film and Media at the University of California, Berkeley Robin Clark, director of the Artist Initiative, San Francisco Museum of Modern Art Gregory G. Geiger, artist Maria Elena González, artist and associate professor, Sculpture and New Genres, at the San Francisco Art Institute Tim Hyde, artist and assistant professor, Department of Art and Art History, University of California, Davis Amanda Hunter Johnson, conservator, San Francisco Museum of Modern Art Tomoko Kanamitsu, program associate, Higher and Continuing Education, Education and Public Practice, San Francisco Museum of Modern Art Emily Liebert, associate curator of Contemporary Art, Cleveland Museum of Art Peggy Phelan, Ann O'Day Maples Chair in the Arts, Professor of Theater & Performance Studies and English, Stanford University Sarah Roberts, Andrew W. Mellon Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art Kaeleigh Thorp, graduate student in Museum Studies at the University of San Francisco Meredith George Van Dyke, curatorial assistant, Painting and Sculpture, San Francisco Museum of Modern Art John Zarobell, associate professor and undergraduate director of International Studies at the University of San Francisco

We have mounted important exhibitions of the works of Ant Farm, Joe Brainard, Joan Brown, Theresa Hak Kyung Cha, Robert Colescott, Jay DeFeo, Juan Gris, Eva Hesse, Paul Kos, Robert Mapplethorpe, Barry McGee, Richard Misrach, Bruce Nauman, Peter Paul Rubens, Martin Puryear, Sebastião Salgado, William Wiley, and many others, as well as thematic exhibitions such as Made in U.S.A.: An Americanization in Modern Art, the «50s & «60s; State of Mind: New California Art Circa 1970; In a Different Light: Visual Culture, Sexual Identity, Queer Practice; Human / Nature: Artists Respond to a Changing Planet; and Masterworks of Chinese Painting: In Pursuit of Mists and Clouds.

In «Meta - Modern» practice there is extension and deconstruction of formalism, which blurs lines between abstraction and figuration, and employs the use of non-traditional with traditional painting materials, which is found in much of Vernacular art.

Mira Schendel (1919 - 1988), a seminal figure in the Latin American modern art scene who formed her own approach to abstraction with influences from quantum physics to Zen Buddhism, attempted to reconcile the practices of painting and sculpture with these series.

A highly respected art conservator practicing in Roxbury, Connecticut, Yost's experience restoring fine oil paintings from the eighteenth to twentieth centuries has allowed him to translate the techniques of the masters into contemplative landscapes for modern viewers.

Krasner's will stipulated that the home (where she originally painted) and the studio both be a place of insight into her and Pollock's practices and a broader educational resource for students of modern art in America, and the site now features a study center that includes archives and interviews.

Regarded as one of the finest periods within a practice spanning over five decades, the late 1980s and early 1990s saw the production of significant works including the celebrated Eis cycle of paintings (The Art Institute of Chicago), as well as important examples of his Abstraktes Bilder series, now housed in important collections including Abstrkates Bild 726 (Tate, London), Abstrkates Bild 727 (Kunsthalle Hamburg) and Abstrkates Bild 734 (San Francisco Museum of Modern Art).

Scottish National Gallery of Modern Art with artist Lucy McKenzie Lucy McKenzie is a Glasgow - born artist working with an expanded practice with painting at its centre.

In addition to his painting practice, Montgomery is also the Supreme Dictator of the Ithaca MoMA (The Ithaca Museum of Modern Art), as well as one of the world's foremost scholars on the artist movement known as the «School of Lubividska».

In true postcolonial fashion, Chagani reappropriates an ancient art practice — Miniature painting — to create modern - day works of art that thematically explore his vision.

The exhibition consists of a series of real - time portraits that Kopp painted of fiercely loved subjects that sat for him via Skype, marrying the practice of 19th - century oil painting with modern communication.

As Harold Rosenberg (who later taught at the University of Chicago) put it, «painting became the means of confronting in daily practice the problematic nature of modern individuality.»

I Refuse to be Invisible, Njideka Akunyili Crosby's kaleidoscopic painting, is an illustration of her pioneering practice in which she draws together a wide range of contemporary themes — including the role of traditional cultures in modern society, the proliferation of the mass media and the history of western painting — into one monumental work.

Judged by an independent panel of selectors; Stephen Coppel, Curator of the Modern Collection, Department of Prints and Drawings at the British Museum; Kate Macfarlane, Co-Director of The Drawing Room, London; and Lisa Milroy, Artist and Head of Graduate Painting, Slade School of Fine Art, UCL, the Prize aims to explore and celebrate the diversity, excellence and range of current drawing practice in the UK.

His philosophy of painting involved a strict adherence to a rigorous practice in reductive, modern painting.

The main body of the exhibition features contemporary works including photographs, videos, paintings, posters and installations that employ a wide range of tactics to attack, reflect upon or at any rate expose modern - day surveillance practices.

Like Millar, Simon Ingram's non-objective canvases signal more contemporary approaches in his innovative use of modern technologies combined with the hand drawn, in his painting practice.

Works on view explore several key ideas in modern and contemporary sculptural practice, such as the exploration of unorthodox materials, new choices in subject matter, and the dissolution of the boundary between painting and sculpture.

«The objects assembled in this exhibition challenge the way African - Americans have historically been seen, creating alternate narratives to the traditional Western art accounts from ancient Egypt and classical Greece, to the birth of modern painting, to postwar abstraction and conceptual practice,» according to a news release.

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

Artists like Jackson Pollock also embodied the modern practice of bridging low and high forms of culture; he is known for mixing objects like sand, broken glass, and nails onto the surfaces of his drip paintings.

Others might argue that the Museum of Modern Art is throwing its weight behind a narrow bandwidth of contemporary painting practice, one that revolves around the artwork as a mediated object referencing institutionally sanctioned styles.

Finally, fin de siècle and early 20th century brought us to beginnings of modern painting within the practice of Georges Braque, who is assigned as one of the key figures of Fauvism and Cubism.

Taking cues from modern dance, and simultaneously playing on the repetitiveness in her painting practice, Otto - Knapp presents a series of large canvases that show overlaying scenes of animation: uniform figures at times suspended on austere backgrounds; at times floating in a moon - like landscape of indeterminate place or time.

Spanning the six decades in which O'Keeffe was at her most productive and featuring over 100 major works, the forthcoming exhibition at Tate Modern will chart the progression of her practice from her early abstract experiments to her late works from the 1950s and 1960s, aiming to dispel the clichés that persist about the artist and her painting.

His apt description of the painterly project of an admired forebear, Alex Katz (James is also an accomplished and widely published critic), is equally applicable to his own practice, i.e. he continues to play the grand, complex game of Western painting while reflecting a fully contemporary consciousness of the modern and postmodern disjunctures of history and culture.

These latest works are a natural extension of Snyder's varied painting and printmaking practices, and connections to the history of modern and expressionist painting abound.

Human beings have always, and will always, seek to arrange, produce, and think with the more formalized 2D visual concepts; the relatively modern format and practice of painting has, for the last hundred years, been one of the primary sites of that inquiry.

As mentioned, modern painting is now in a position it has rarely occupied: all of the forms of painting are being practiced in roughly equal measure.

In the decades to follow, during successive exiles in Tehran and New York, Farmanfarmaian developed an intuitive yet painstakingly crafted artistic practice in mirror mosaic and reverse - painted glass that weds the cosmic patterning of her Iranian heritage with the rhythms of modern Western geometric abstraction.

Jenny Saville discusses the beginnings and evolutions of her painting practice with Dr. Simon Groom, Director of the Scottish National Gallery of Modern Art, Edinburgh.

• Track record of instructing students about basic sketching and contouring techniques • Well versed in evaluating students» work, charting their progress, grading assignments and guiding them regarding their weaknesses appropriately • Hands - on experience in curriculum development, lesson planning and implementation with aid of modern and effective AV aids and instructional strategies • Expert in instructing students about working in various modes including pastels, oil colors, water colors, fabric paints, charcoal and pencil • Adept at creating and maintaining a highly stimulating, inspiring and multicultural classroom environment • Proven ability to introduce novel forms of art and inculcate the same in the curriculum effectively • Demonstrated ability to enhance creativity among students by encouraging innovation, novelty and originality in their pieces of art • Familiar with various kinds of pixel sheets, sketching paper and art material, fully capable of determining age specific art material and techniques, suitable for assigned level and grades of children • Known for initiating, designing and implementing various art contests at the school to encourage a general appreciation for art among students • Competent at identifying course goals and fulfilling the same in collaboration with students, teachers and parents • Proven skills in lesson planning, curriculum implementation, technique instruction, practice facilitation and assignment communication • Profound knowledge of various advanced level 3D effect art techniques • Strong classroom management, organization and discipline control skills • Profound ability to devise innovative learning and instructional techniques to facilitate effective transfer of skill and knowledge • Proficient in use of computer to aid art work, familiar with various graphic designing and drawing enhancement software