Sentences with phrase «narrative painted about»

Pollock, whose documentary, «Strange Fruit,» premiered at the South by Southwest Festival on Saturday, claims the new security tape featured in the film points to a cover - up of evidence on the part of Ferguson police, and a false narrative painted about Brown by city officials.

Not exact matches

In any case, these words about painting are a fitting description of Davies's own narrative art, provocative in its «farcing out» of Christian tradition and powerful in its evocation of our human depth and variety.

Taipei About Blog Mau - Kun Yim is a Taipei based artist that specializes in representational art including portrait, still life, landscape and narrative paintings.

Stories We Tell explores the elusive nature of truth and memory, but at its core is a deeply personal film about how our narratives shape and define us as individuals and families, all interconnecting to paint a profound, funny and poignant picture of the larger human story.

Taipei About Blog Mau - Kun Yim is a Taipei based artist that specializes in representational art including portrait, still life, landscape and narrative paintings.

But especially in recent years, Sony's managed to paint a picture — and a narrative — about the slate of games scheduled for PlayStation 4, without them (or, in several cases, third party creators) delivering in a timely manner.

All of my recent paintings together represent a nonlinear narrative about two people experiencing love and the passing of time in the woods.

After creating narrative series about Haitian revolutionary Toussaint L'Ouverture, and abolitionists Frederick Douglass and Harriet Tubman, Lawrence painted his 60 - panel Migration Series.

Known for his visual narratives documenting the African American experience, Jacob Lawrence conceived a series of paintings about the history of the United States that would encompass all of the nations's people.

His absence from, or marginal inclusion in, nearly every narrative about postwar painting says a lot about how skewed these views are.

She has been one of the most talked about artists of the past decade, consistently finding new narrative structures to infuse the venerable tradition of painting with an unpredict - able expressionism.

Titus Kaphar is an artist whose work interacts with the history of art by appropriating its styles and mediums through painting and sculpture, and then altering the work in a nod to hidden narratives and unspoken truths about the nature of history.

Crosman writes that these paintings «don't depict Seal Point but rather are meditations on the ineffable qualities of a place as Walker has experienced it — color, light, motion, shape, texture — recording the narrative of how the artist feels about this special location over the course of changing seasons, months and years.»

How we view these paintings is a challenge to existing narratives about how art gets produced.

Questions about the relevance of painting in the aftermath of Minimalism, debates about representation, «culture wars,» and a revived interest in personal narratives are explored in works by artists such as Carl Andre, John Baldessari, Felix Gonzalez - Torres, Peter Hujar, Neil Jenney, Barbara Kruger, Robert Mapplethorpe, Agnes Martin, Richard Prince, Martin Puryear, Susan Rothenberg, Mark Tansey, and David Wojnarowicz.

Her canvases are mostly scaled to the artist's own body, often dyed with rich violets and greens, and occupied with flatly painted signs scrambled into effusive narratives about their own making.

A combination of sculpture, painting, printmaking, video and installation bringing about various overlapping conversations and exploring the way we interpret cultural, religious and personal narrative in a way that gives the viewer a glimpse into something uncanny.

Yiadom - Boakye offers few details about the subjects, allowing her paintings to be open to a range of narratives, memories and interpretations by viewers.

«What interests me about Wool» the artist and critic Joan Waltemath has said, «is how, at a time when painting was not on the map, he really did the nuts and bolts work to find a way to make it possible to get back into that grand narrative.

The New Hampshire - based painter — whose Narrative Figure Paintings is on display at TEJAS Gallery through the month of March — is telling me about -LSB-...]

I cut, crumple, shroud, shred, stitch, tar, twist, bind, erase, break, tear, and turn the paintings and sculptures I create, reconfiguring them into works that nod to hidden narratives and begin to reveal unspoken truths about the nature of history,» describes Kaphar his practice in his own words.

In Svobodová's paintings, folds made during a concentrated period of time build the infrastructure of the final image and create a narrative of space that never stops suggesting something intrinsic about flatness.

Just as the figurative paintings of Giorgio Morandi, whom he admires, are not about merely depicting vessels, so Sean Scully's definitive abstract works have narrative structures when they evoke associations of figure and landscape, of window and mirror, or of religious forms and themes such as altar or resurrection.

And when people look at figurative paintings, particularly from the Renaissance, it's all about the narrative.

Almost curtain like, the work serves as a passageway, inviting viewers to contemplate their own understanding about the dissolving imagery and narratives woven and painted throughout its spatial plane.

About lines and strokes, about painting paint strokes, telling a story, using the grid, moving from figure and landscape space, making the work narrative, isolating strokes, thinking about the anatomy of a painting... being able to see the process the painting went through, the ground, pencil lines, paste, gel, pAbout lines and strokes, about painting paint strokes, telling a story, using the grid, moving from figure and landscape space, making the work narrative, isolating strokes, thinking about the anatomy of a painting... being able to see the process the painting went through, the ground, pencil lines, paste, gel, pabout painting paint strokes, telling a story, using the grid, moving from figure and landscape space, making the work narrative, isolating strokes, thinking about the anatomy of a painting... being able to see the process the painting went through, the ground, pencil lines, paste, gel, pabout the anatomy of a painting... being able to see the process the painting went through, the ground, pencil lines, paste, gel, paint.

So there was space to write this narrative and try to think about the links between contemporary painting and the past.»

We talk about his «Signal To Noise» paintings and talk about narrative paintings, his fascination with form, and face

There's a recurring narrative about late style in painting: from Rembrandt to de Kooning to, in our own era, Agnes Martin and Cy Twombly, the trajectory of the long - lived painter in the final decade or two reaches toward a greater openness and a simplifying of form, along with efficiency of execution.

Through these exhibitions, MCAC aims to provoke contemplation, dialogue and debate about the formal readings of the painted surface — colour, line, perspective and narrative.

His paintings present complex and intricate narratives about daily urban life — peering into both the mundane and sometimes surreal.

By replacing the typical European aristocrats depicted in those paintings with contemporary black subjects, Wiley is able to draw attention to the absence of African Americans from historical and cultural narratives and raise questions about race, gender, and the politics of representation.

Fernández seeks to respond to their interpretations and biases through a conversation about a deeper sense of these varied American cultures, contesting the iconic view of the «American Landscape» painting tradition constructed by Church and his peers that often omitted or erased other narratives and figures.

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.

Narratives notes that Alma Thomas (1891 - 1978) «contradicted assumptions about appropriate subject matter and styles for African American artists [and]... rejected suggestions that she paint «black» subjects.»

It moves between his direct address of the show («Seeing the paintings and sculptures and models as small images makes me think about remnants») to fragments of narrative, personal observation, dreams, and excerpts from poetry and song lyrics.

But these paintings seem to be much more about depicting particular events or a narrative.

However, for me, painting isn't always about creating solid narratives.

Dexter Dalwood's narrative paintings, the human subjects of which never appear, the Otolith Group's black box filled with old paintings and a series of televisions showing a 1989 Channel 4 series about the legacy of ancient Greece.

With their luscious colors and high - gloss finishes, some of which took over a year to create, these elaborate paintings celebrate decorative beauty, while at the same time delivering an arresting and timely narrative about environmental degradation and homogenization.

Realized in loud, garish hues partly informed by the artist's early exposure to Socialist Realism, Rauch's enigmatic pictorial narratives never vanish into explanation: «My paintings have something vital about them, like an animal, a living thing,» he says.

And so he does here, creating an environment of paintings, drawings, embroideries and collages that serve as a stage set for a multicharacter narrative about masculine stereotypes and how they thwart the path of true same - sex love.

I like Willem DeKooning's quote to Philip Guston about painting being about «freedom» — freedom to directly go wherever the eye and the hand takes you, and also the freedom to carve out a narrative that is as personal as it is singular.

I think one of the things that I really dig about your paintings is all of the layers of how the paint is communicating to us, not just about these gooey bodily things, but the narrative of junk food that we talked a lot about.

Curated by our Chief Curator Rebecca Wilson, the exhibition, entitled «Domestic Fictions,» presents a new series of paintings which are as much about the «luscious butteriness of oil paint,» as Wood puts it, as they are rich narratives about an eclectic cast of characters.

Schwartz views painting as a way of making sense, a way of making implicit experience explicit, of giving form to what is unformulated: «I don't set out with a preconceived agenda or narrative when I paint, but work to be mindful about discovering meaning in my process, my way of going about making a painting.»

Standouts include Carrie Mae Weems» holographic narrative about race, sex, and politics portrayed by ghostly characters on a burlesque stage; The Propeller Group's video that draws parallels between funeral practices in Vietnam and New Orleans, along with the collective's sculptures of tricked - out musical instruments, which were also photographed with members of Louisiana marching bands; Glenn Kaino's installation of water tanks that turn military machines into coral reefs; Jean - Michel Basquiat's paintings and works on paper that reference the cultural legacy of the Mississippi Delta and the South; Camille Henrot's video exploration of the universe by way of the storage rooms of the Smithsonian Institution; Tavares Strachan's 100 - foot long neon sign declaring «You belong here» from a barge on the Mississippi River; and Andrea Fraser's monologue, in which she recreated a heated debate by New Orleans city council members during a 1991 vote to racially integrate the Mardi Gras krewes — changing her voice and expression as she dynamically alternated between speakers, both black and white.

RECOGNIZED FOR HIS RAPT ATTENTION to the historic narratives of African Americans, Jacob Lawrence (1917 - 2000) envisioned a series of paintings about the history of the United States that would encompass all of the nations's people.

«I cut, crumple, shroud, shred, stitch, tar, twist, bind, erase, break, tear, and turn the paintings and sculptures I create, reconfiguring them into works that nod to hidden narratives and begin to reveal unspoken truths about the nature of history.»

Nadel: Trent, I wonder if you could talk about the difference between making a narrative with a series of paintings and wall text, and making a book, how language interacts in a book as opposed to the way it interacts in painting or on a wall?