Sentences with phrase «narrative painting such»
Past Times reimagines art history, taking as his point of departure Western masterworks of narrative painting such as Giorgione's The Tempest, Édouard Manet's Le Déjeuner sur l'herbe and Georges Seurat's A Sunday on La Grande Jatte.
https://www.artmarketmonitor.com/ Not exact matches
I have long remembered the remark of a notable art critic — though I have forgotten which one — that many modernist paintings could be understood as fragments of classical painting blown up for their own sake, displaying the formal and technical elements by which painting is accomplished but eschewing the narrative depiction within which such patches of paint on canvas would earlier have had their place.
No less important, this film relies on a variety of storytelling devices and narrative forms, such as narrative painting, the gothic tale, the incest story, the letter, the dream, the flashback, the omniscient narrator, and the horizontal wipe.
I am thinking of objects in nature such as rocks, water, branches or a big fat sun / moon - as part of the narrative in these paintings and acting as metaphor for human interaction and strength of feeling.
If narrative was banished from modernism (to become the trope of post-modernism), Bercea's paintings maintain «touches of modernism» such as «form, function and structure» but similarly act like cryptic short stories in which no plot exists, the characters appearing fluid and changeable.
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 paintings are constellations of personal references - titles such as «Heathcliffe» and «Wasabi without Tears» simultaneously allude to experiences and leave us with an intense desire to form a narrative.
The exhibition will show some sixty works by this hitherto little noticed «artists» artist», including groundbreaking series such as his Ice Box Paintings, his comics narratives and Vietnam paintings from the 1950s and 1960s, as well as never - before - exhibited drawings and selected late works from the 1980s to thePaintings, his comics narratives and Vietnam paintings from the 1950s and 1960s, as well as never - before - exhibited drawings and selected late works from the 1980s to thepaintings from the 1950s and 1960s, as well as never - before - exhibited drawings and selected late works from the 1980s to the 2000s...
Featuring internationally recognized artists such as Pablo Picasso, Frida Kahlo, Andy Warhol, Ai Wei Wei, Jean - Michel Basquiat, Lyle's paintings unfold as such; recognizable subject, recognizable composition, laugh, debate narrative, repeat... The narrative, of course, as seen through the lens of a full - time painter and part - time «jack of all trades» who must take whatever job he can get in order to connect the dots and survive.
This narrative is further explored through the paintings and photographs included in the exhibition, such as the silver bromide prints from Grasso's Specola Vaticana series.
Robin Rhode, the South African - born, Berlin - based multidisciplinary artist, engages a variety of visual languages such as photography, performance, drawing and sculpture to create arrestingly beautiful narratives that are brought to life using quotidian materials such as soap, charcoal, chalk and paint.
The resulting works thus collapse the distinction between sculpture and other art mediums, such as painting and poetry, into a complete corporal, temporal, and narrative form.
The Cape Town — born, Berlin - based multidisciplinary artist Robin Rhode (born 1976) engages photography, performance, drawing and sculpture to create arrestingly beautiful narratives that are brought to life using materials such as soap, charcoal, chalk and paint.
Cai Guo - Qiang's practice draws on a wide variety of symbols, narratives, traditions and materials such as fengshui, Chinese medicine, shanshui paintings, science, flora and fauna, portraiture, and fireworks.
The narrative touches on broader themes as well, such as the American artists» relationship with European art, the establishment of indigenous painting styles, the role of patronage in American art, and the question of provincial vs. «high» art.
The paintings develop a distinct narrative flow as the viewer follows her track, taking part in what she has found of interest such as a flushed bird, a stand of trees, a bog, or footprints along a lake.
Whereas the painters in Nature Studies I may have found creative impetus from photographically - reproduced work or used it as part of their method, these eight artists employ a host of respective photographic processes that, for the most part, draw our attention to the concerns, formats and styles typically seen in and expected of painting such as the artifice of arrangement, the manipulation of formal elements, and the projection of symbolic meaning or narrative content.
Using elements from the tangible world such a artists» materials, travel ephemera, tobacco and wine labels allowed Motherwell to construct a narrative for the viewer while still maintaining his automatic and gestural style of painting.
Curated by Jean Crutchfield and Robert Hobbs, Tavares Strachan conceived an immersive installation that includes different media such as neon signs, video, sculpture, and painting, and surrounds the viewer by documentation of a reenactment of a historic narrative: the 1909 polar expedition of Robert Peary and Matthew Alexander Henson.
Each painting is measured to exactly the same dimensions, and her titles, such as Isko (2008) and Teite (2008), are drawn from a German dictionary of first names, emphasizing each painting's individuality and imparting a deeper sense of history and narrative to the canvases.
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.
She builds up layers of acrylic paint and narrative content, such as map grids and abstracted images of war, which she then overlays with mark making using pencil, pen, ink, and more paint.
Early narrative paintings depicted heavy subjects such as anxiety, doubt, sexuality, and death, but in later years, he turned toward landscape painting, exploring light and abstract patterns of nature.
At the Huntington, there is one such painting by William Merritt Chase (1849 — 1916), «The Inner Studio, Tenth Street,» which offers a counter narrative to prevailing interpretations of his work.
Drawing on influences such as Chicago Imagist Jim Nutt and the early work of David Hockney, his painting call attention to the interplay of narratives, both historical and artistic.
Born in Ecuador to Chinese parents, Cecile Chong portrays cross-cultural narratives using encaustic and mixed media with imagery appropriated from international sources, such as European children's books and Chinese scroll painting.
Running until 29 March, the collated writings and images of poets such as Katherine Mansfield and Iris Tree provide inspiration for the show, as the gallery explains: «The narratives within the paintings are given structure by an almost visceral sensation of light that outlines and gives intensity to their surfaces, evoking a poetic image.
Some of these painting go beyond such direct references, and become bore abstract narratives, still exploring similar themes of the home, the body, and nature.»
By treating the words as shapes, den Breejen generates conceptual narratives and explores a personal take on movements such as minimalism, «action painting,» grid and color - field painting, and hard - edged geometry.
There are several new acquisitions that incorporate light, such as Vernon Fisher's The Coriolis Effect, 1987 for which the green glow of a spiraling florescent tube sitting above the panel surface suggests the painting's title and offers an ominous presence that enhances the narrative text.
The Japanese artist Chinatsu Ban creates imaginative narratives using a recurring cast of figures, primarily little girls and elephants, and objects, such as apples and ice cream, in her drawings and large - scale acrylic paintings, which initially suggest the whimsy of children's book illustrations.
His work subverts traditional portraiture, as well as narrative and historical themes creating paintings that use details and compositional elements appropriated from artists such as Jacques Louis David, William Hogarth and Sir Joshua Reynolds.
However, Beckwith's conversation with the Yiadom - Boakye reveals how an initial skepticism of painting's power gave way to ultimate confidence in it, such that for a time the artist aimed to abandon any narrative impulse in her work and, consequently, tried to excise any sort of particularizing details — indicators of time, geography, or the social location of her figures — from her paintings.
As for the narrative scenes that he depicts, they too are ostensibly African: Armitage travels to his homeland to derive inspiration while making drawings and watercolour sketches, and his finished paintings often foreground aspects of East African culture, such as indigenous folklore, issues surrounding mental health, or the taboo subject of homosexuality.
Rhode creates narratives that are brought to life through stop - motion animation, using quotidian materials such as soap, charcoal, chalk and paint.
Just as the once - feared «death of painting» has yielded an ongoing tradition of painting, so the deconstructive art of Broodthaers has become part - and - parcel of both the gallery system and the public art museum, though he certainly aimed to upend this dialectical narrative by such acts as the destruction and / or reuse of his own previous work.
Barney: Neo Rausch interests me because of his imagination and how he composes his images to create such specific and strange narrative in each painting.
Mr. Griffin's artwork has many influences such as artist Neo Rauch's and Eric Fischl's paintings of deranged societies and distorted narratives.
Together, their works introduce numerous critical, political, aesthetic, and material threads that run throughout the exhibition, in works such as Stan Douglas» compelling six - hour meander into an Afrobeat jam session in Luanda - Kinsasha (2013), the late Kwakwaka» wakw artist, activist and hereditary Chief Beau Dick's celebrated performative masks, Nick Cave's enchanting Sound Suit (2015), borne from the horrors of racialized violence, to Latifa Echakhch's sculptures and paintings that reconcile personal narratives against broader cultural or nationalistic norms and expectations.
Such works as The Whiteness of the Whale (IRS - 1 2X)(1987) depart radically from Stella's earlier paintings and begin to employ narrative.
Influenced by the history of painting, especially Abstract Expressionism, Hancock transforms traditionally formal decisions — such as the use of color, language, and pattern — into opportunities to convey narratives.
They tell stories in the manner of surrealists like Remedios Varo or Leonora Carrington, to whom Heffernan has been compared.4 Furthermore, such ambiguous narratives more closely parallel the postmodern work of Cindy Sherman's untitled film stills or Kara Walker's silhouettes, than the clear and didactic narratives of history painting.
She interweaves allegorical narratives, associative color and spiritual iconography, such as Tarot icons and Viking Runes, working with oil paint, beads, glitter and other embellishments.
From such a perspective, James's art can be seen as resisting the dominant narratives of abstract painting by repurposing the affective qualities of perception, and in so doing, her work allows for a new understanding of how identity functions within the field of image production.
As such, many of the works in the exhibition take as their subject topics such as the catalogue of Newman's works, paintings that have been excluded from the artist's narrative for one reason or another, the graphic design of catalogues in which it has been featured, and the artist's biography.
With use of repeated motifs and colors, I create a language between the paintings that the viewer can use to navigate this narrative in such a way that they are voyeurs onlooking the picture frame.
Once the least respected of the academy's categories — history painting, with its large - scale figures and high - minded narratives ranked highest — still life became a favorite motif of modernists, since inanimate forms, such as bottles, plates, and even fruits and vegetables, permitted an emphasis on purely formal concerns.
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.
They portend to the dimensions of great history paintings, yet give us such little detail or sniff of a narrative of any kind.
There are pros and cons to such an approach but the biggest drawback is how invested and reliant it made her and subsequent coverage in accepting Wylie's narrative, which just so happens to paint him as a young mastermind at the center of global political conspiracies.