Sentences with phrase «much contemporary painting»

Instead of the viewer's gaze skimming off the surface like a skipped stone as in so much contemporary painting, Jake Berthot's paintings hold you — stop you and engage you, stir you and disturb you.

Fidelity to appearance has re-emerged as a favoured means of capturing a subject in much contemporary painting.

«So much contemporary painting is not open,» Goodman told David Brody in an interview.

As such, Scully's art can be considered as diametrically opposed to the rigorous, clinical detachment of much contemporary painting.

The attentiveness John has given to nurturing the mood and flavour of each painting as it develops is what makes his paintings so much more interesting, heartfelt and ambitious than so much contemporary painting that lays claim to being complex and diverse, see Sansom, Oehlen or Dana Schutz.

Not exact matches

It is a tragedy, but during his short life span he left us with so much poetry, drawings and painting in which he married text and image, abstraction, figuration and historical information mixed with contemporary critique.

Though it's an act of vandalism, graffiti is also regarded as an artistic style, as much a contemporary statement as the early Dadaists painting on urinals to make bold statements against World War I.

Contemporary Hispanic Market TBA 2012 Lincoln Avenue - next to the Plaza (downtown) This annual market showcases original work and individual expression in the mediums of painting, printmaking, sculpture, photography, furniture, jewelry, ceramics, weaving and much more.

If much contemporary abstract painting has a «hands off» mentality, then the work in Phaedo is very much «hands on» even when it is minimal or slight.

During the exhibition preview, much was made of the artist's fully contemporary approach to painting, and it's hard to argue this point.

A much - admired, generous supporter of avant - garde contemporary music, Betty Freeman was also drawn to the work of the contemporary visual artists of her day who challenged the boundaries of painting and sculpture.

Your contemporary paintings are so vibrant with such an immediate attraction, and the intensity that each painting owns, triggers so much energy and life when observing them.

Ward overlays this contemporary monetary reference with cowry shells, an earlier form of currency found in many cultures, and gives the paintings a distinct patina by pouring and rubbing white rum flecked with gold and silver powder in a ritualistic fashion, producing an ethereal aura much like a Color Field painting.

JD: I think in the contemporary art - world there's a much - discussed suspicion of what we call «skill» when it comes to contemporary painting, particularly realist painting.

For a recent interview with Hoptman we delved deep into the nitty - gritty of contemporary painting, including especially the recent trend towards a-historical borrowing that characterizes the works of both her much - talked - about 2014 MoMA exhibition «The Forever Now» as well as the widely denounced pseudo-movement referred to as «Zombie Formalism.»

Although she sometimes ventures beyond her circle (her dream subject, she says, would be Joan Didion), the series is in part a valentine to creative souls with whom she has forged an enduring connection, as much as a study in contemporary portrait - making that alludes to historical painting.

«Maybe it [painting] appears that way [dead] if you spend much time in New York City's major museums, where large group shows of contemporary painting are breathtakingly rare, given how many curators are besotted with Conceptual Art and its many often - vibrant derivatives.

«When you look at this work you can really see how much Rauschenberg has influenced contemporary art and contemporary artists,» comments Senior Specialist Alice de Roquemaurel as she gazes at Robert Rauschenberg's Transom, a silkscreen painting made in 1963.

«Sam Gilliam has attracted significant attention recently as an artist who pushed the limits of artistic process but also as a much needed corrective to our understanding of American painting in the post-1960 era,» said Gavin Delahunty, Hoffman Family Senior Curator of Contemporary Art.

Is it too much of a risk for the Tate, with its eye on attendance figures, to promote exhibitions of abstract painting to a mass audience whose attention span has been shortened by the expectation that contemporary art should be either shocking or fun?

While much significant work in contemporary painting has taken an ironic approach to this traditional practice, Frecon's work proceeds with unabashed sincerity.

It serves as a point of departure in much the same way the horse and head function in paintings by the contemporary American artist Susan Rothenberg (MATRIX 3).

No question, much of Mr. Dial's paintings, sculpture, drawings and prints carry you into a darker place — «from reflections on race and class struggle in America to haunting meditations on events of contemporary global concern» was the rather sanitized view of the High Museum, when it mounted «Hard Truths,» the traveling Dial retrospective, organized by the Indianapolis Museum of Art in 2011.

Recent group exhibitions include «Magic Mountain,» Museum of Contemporary Art Santa Barbara, CA; «Spectra,» San Diego State University Downtown Gallery, San Diego, CA; «Lost line,» Los Angeles County Museum of Art, Los Angeles, CA; «ABCyz,» Launch Exhibition, Silvershed, New York, NY; «The Trans - Aestheticization of Daily Life,» University of California, Riverside Sweeney Gallery, Riverside, CA; «Too much love,» Angles Gallery, Curated by Amy Adler, Los Angeles, CA; «Around About Abstraction,» Weatherspoon Art Museum, Greensboro, NC; «Wall Painting,» University of Texas at San Antonio, San Antonio, TX; «Snap Shot,» UCLA Hammer Museum, Los Angeles, CA (Traveled to Museum of Contemporary Art, North Miami, FL); «Fresh,» Altoids Curiously Strong Collection, New Museum, NY; «KOREAMERICAKOREA,» Sonje Museum of Contemporary Art, Seoul, Korea; «Rundgang,» Kunstakademie Düsseldorf, Düsseldorf, Germany.

Despite O'Doherty's debunking of this context, the white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to websites such as Contemporary Art Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop screen.

In works from the 1980s through the present, the influence of the contemporary art market seems to inform selections in painting and sculpture as much as, or more than, the interests of posterity.

It interesting to see these materials trapped inside the glass in a way mirroring how painting can be viewed in contemporary art, trapped in tradition and without much room to escape its own conventions.

These hybrid paintings engage a contemporary audience as much as they do a graffiti audience, this ability to remain honest with his work while at the same time engaging new territory is one of the artists strengths.

But the picture is structured by a series of stripes that make it a cousin once removed to a contemporary stripe painting by Kenneth Noland, a painter whose work dominated art criticism at the time but which now seems much less substantial than Thiebaud's.

The scratchy, effortful mark - making and melancholy, brutalised near - monochrome feel so much of their time — redolent of European contemporaries like Fautrier and Richier — it's difficult to judge the painting as an independent work.

I suppose I've learned so much from John Currin about the role and position of contemporary painting (I recently found out that Currin too is a fan of Trosch's work).

Don't get me wrong, I love Smack Mellon as much as the next guy, but isn't it a little ironic for an organization that cleaves toward site specific installations, and has little interest in contemporary painting, to rely on painters for fundraising?

Each painting is as much a tutorial in flora and fauna as it is as a scathing indictment of the wrongs committed by nineteenth - century industrialists or — locating the work in the present — contemporary American consumer society.

Much like her early contemporaries John Currin or Elizabeth Peyton, Owens bucked trends by simply engaging with painting.

Fifty paintings by fifty American artists offers a critical balance to the conditions of atemporality, affected responses, and the material turn shaping much of contemporary painting discourse.

This lot has a conservative estimate of $ 800,000 to $ 1,000,000 and de Kooning's «Women» paintings are clear precursors to the ever - increasing contortions, distortions and maledictions that would be become prevalent in much of «contemporary» art subsequently.

These paintings are meant to be felt as much as seen, and Jensen correctly cautions against our contemporary bias toward the visual in painting.

«Jenna Lash's works are of feeling as much as paintings of the external world, and as such breathe a fineness and sensitivity not often found in contemporary visual arts.

The first internationally touring survey show dedicated to the work of one of Japan's leading and most innovative contemporary artists, this exhibition will present works from Ohtake's multifaceted practice which ranges from painting to assemblage, collage, drawing, monumental sculpture, architectural environment and sound — much of which has never been seen in the US.

Wayne Thiebaud proves that in the right hands — his — portrait, still life, landscape and a bright, extroverted style permit as much rigor as we find anywhere in contemporary painting.

At the time, the Poured Paintings were championed by Greenberg and much admired by Bowling's contemporaries also exploring the possibilities of paint and abstraction.

I see so much painting in galleries, though — is that more because paintings are easier to sell, or am I just looking at the wrong channels in contemporary fine art?

Equally striking in a much different way are the monumental paintings of Kehinde Wiley, who borrows from classical baroque paintings to create eye - grabbing backgrounds and compositions for his own contemporary self - portraits.

Although my work doesn't look on the surface much like his, I think he taught me about using iconic signifiers and figures that I could project myself into for emotion and as an avatar in paint (like Scott McCloud describes in his amazing book, Understanding Comics, that we do as comic readers), and create figurative narrative allegories that hopefully resonate deeper than most political cartoons and relate to Goya and other art historical uses of politics and allegory as much as the imagery could relate to underground comics and contemporary worlds.

The works are rife with clichéd symbols, such as Arabic calligraphy, fragments of ceramic artifacts, images of camels and political cartoons, in an attempt to create work that will meet Western expectations for a brand of contemporary Middle Eastern art much in the same way that smiling Mao and Panda paintings became the brand for post-Cultural Revolutionary art in China in the 1980's.

On the heels of her powerful solo exhibition, The W Axis (covered), as well as a blowout result at a recent charity auction where one of her much sought after Fold paintings reportedly sold for nearly 10x the estimate, the scalding hot contemporary artist has condensed her methodical -LSB-...]

Composed of archive images, portraits of the students, news footage and a barricade of abandoned household and office furniture the installation is as much a contemporary reworking of a history painting as it is an archive.

Still though, design hasn't penetrated the white cube of the contemporary art gallery as much as painting or non-functional sculpture has over the years, until recently.

We know that the late 19th century can not really count as a contemporary art period, but Eugene von Guérard's paintings have gained much greater value after his lifetime.

Known for his intimate figure paintings — especially of the female nude — and delightful portraits of Parisian socialites, Renoir has collected a cast of characters who still very much play a role in contemporary art today.