Guston's turn in the late 1960s to
narrative painting seemed like the last nail in late Modernism's coffin.
Not exact matches
When it comes to technology and innovation, reality
seems to be constantly playing catch - up to the visions of the world that are
painted in science fiction
narratives.
This certainly took the wind out of the
narrative as it
seems quite happy to
paint by the numbers most of the time, producing a predictable story.
The game trailers we've seen so far have
painted a dark picture of the types of decisions players will be faced with throughout the
narrative, as moral ethics
seem like they will play a large part in the proceedings.
(In this regard, he is closer in spirit to an experimental, non-
narrative poet than a conventional,
narrative one)... Whereas de Kooning famously equated oil
paint and flesh, Thiebaud
seems to equate oil
paint with nature — from impassive stone to ephemeral cloud, and from warm glowing light to portentous back lighting.
Taipei - based artist Shih Yung - Chun
paints scenes from everyday life, taking inspiration from hundreds of photographs, but there's an element of the bizarre in all his crafted
narratives — his subjects always
seem to occupy themselves with strange activities.
Clare Rojas at Anglim: The passages of abstraction in Clare Rojas»
narrative paintings always
seemed to me the most appealing bits.
Also included are a collection of small works on panel, that
seem to quote from the complex non-linear
narrative of Hackett's abstract
paintings.
If you're unfamiliar with Kiel Johnson's work, his work, he creates transmorphic drawings,
paintings and sculpture that
seem to synthesize the ever - expanding media explosion through a kind of personal
narrative.
Although it
seems as if the
narrative nature of their works centered around the recognizable yellow characters is once again in the focus, with this exhibition OSGEMEOS are moving forward by practically creating an in situ intervention consisting of
paintings and a sound installation.
Each movement, focused largely on the 1950s and 1960s,
seems to confirm a conventional
narrative of the triumph of American
painting, with upbeat titles like «The Pure Products of America Go Crazy» for Pop.
There's a tension in his
paintings, drawings and films that make them impossible to derive clear
narrative of meaning from, yet the work
seems burdened with significance.
Overall, abstract
painting seems to have arrived someplace new — the land of
narrative and neon.
The complexity of the layering of subject,
narrative and the psychology of abstraction allows for an unusually protracted experience of each work, and
seems to open a new chapter of
painting.
His figurative
paintings also
seem to capture a bit of the magic of dreams and portray them in
narrative works for all to see.
A certain material vagueness in pigmented paper pulp thus
seems ideal for Stockholder, who has always enjoyed the erasure of distinctions: between gross matter and art, composition and formlessness,
narrative and abstraction, sculpture and
painting... «Having arrived at the Mill with digital prints of objects she photographed in her years and studio (bright plastic bowls and containers, a drinking bottle, some gaudy cakes that had seen better times) along with real objects (fabric swatches, the floor mat) she proceeded to collage and emboss them in stretches of pigmented paper pulp, working in collaboration with Paul Wong.
While the «death of
painting»
narrative feels horribly tired, the move to counter it is in danger of
seeming just as weary.
Knight writes: «The
narrative in these
paintings is a story of their making... One result is an intensified sense of the here and now, a moment that
seems right and sure and achingly ephemeral, poised to slip away.
In his 2003 biography of Goya, Robert Hughes characterized the artist's eccentric late
paintings as «
seem [ing] like freakish, vivid precursors of modernity» because, as Hughes suggests, Goya chose to «bypass explicit symbolism» — in other words, he predicted modernism by choosing to bypass the chief characteristic of academic art: identifiable
narrative.
But these
paintings seem to be much more about depicting particular events or a
narrative.
Thiel's photographs
seem to refer to a larger
narrative context, yet they also explore the relationship of photography to
painting and sculpture.
Altogether he
seems out of place in our moment of glib - handed
painting and cool
narratives.
Since then he has published three more novels and his writing process
seems to have purged him of any need to
paint narratives.
Precision might
seem like a harsh, unemotional descriptor for admittedly dreamy works, but Akunyili Crosby's
paintings thrive upon a scaffolding of order and structure, where fixed compositions allow layers of emotional
narrative to surface unhindered, uninterrupted.
In such
paintings, figurative and
narrative, many of which emerge from BFA and some MFA
painting programs in the US, in direct contradistinction to what one feels is straining for individualism, for some reason everyone always
seems to look alike, people even all having the same nose, from artist to artist.