Sentences with phrase «nature of painting practice»

Diana Copperwhite's work stems from an idiosyncratic practice that embraces the temporal nature of painting practice.

Characterised by fixed rules, codes, and subsequently a lack of ambiguity, these areas of interest and their accoutrements are completely at odds with the nebulous nature of painting practice.

Welsh graduated from Pratt with a BFA in Photography, which underscores the varied and intersecting nature of her painting practice, as well as her conceptual and technical interests.

Not exact matches

For some, the idea of in - game purchases of a random nature is dangerous, and the practice has been condemned as such, essentially describing loot boxes as gambling with a fresh coat of paint.

Bonnard's habit of drawing all the time, together with his practice of painting from memory rekindled by drawings made on the spot, allowed him to paint subjects of a more transitory nature than had anyone else.

Using the visual language of mythological depictions of wrestling, mined from art historical sources and his own memory, these paintings propose new through lines in Dunham's practice that are both formal and autobiographical in nature.

His rich artistic practice, encompassing painting, sculpture, drawing, machines and systems, all share a fascination with infinity, the nature of being, and the origins of life.

BOOKSHELF Both artists recently published books that capture their practice and the nature of their painting.

James Prosek's practice is inspired by the long tradition in art history of depicting nature — starting with paintings of animals deep within the caves of Lascaux and Altamira to detailed drawings of animals by Albrecht Dürer.

The approach that the artists in Slipped have taken to clay as an extension of their painting or sculptural practices has resulted in an exciting and innovative works that combine the visual and sumptuous nature of ceramics with a conceptual rigour.

In this, his seventh solo exhibition at Waddington Galleries, he continues to explore the physical nature of paint, pushing further his practice and its examination of the relationship -LSB-...]

According to Sara Reisman ``... Wojciech Gilewicz» practices is about expanding the scope of painting specifically and art art generally into the realm of daily life, usually public and sometimes private... Gilewicz... questions the very nature of art, dismantling it from the rarified, official spaces of culture to a much wider field that leads to the discovery that life itself as art.»

The show explores the affective nature of painting from the multiple perspectives of Kapoor's varied working practice.

His more recent works, which include print making, painting and installations, still draw on this theme of everyday objects and their changing nature in society and artistic practice, using their pre-defined contextual symbolism as a way to make an audience re-think what we see, and what we know.

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.

This ritual reflects a common tradition among cultures that practice sand painting — allowing for new drawings to be made while also speaking to the impermanence of life and the cyclical nature of the universe.

At the heart of Hollingsworth's practice is a rigorous fidelity to the dichotomous nature of painting.

Clayton Colvin Clayton Colvin has developed a practice of painting that is both challenging and seductive, using a hybrid of figurative and abstract approaches to create delicate, fantastic, and concrete spaces - the immediate and intimate nature of drawing infusing his paintings and ceramics with an hypnotic mix of familiarity and mystery.

In the recent paintings and photographs that are displayed alongside her sculpture, certain natural motifs recur in different forms, and the interdisciplinary nature of Mary's artistic practice can be seen in the shared monumentality of this broad, yet unified, exhibition.

Seen as a whole, his practice raises fundamental and evergreen questions about the value of images and art, the nature and possibilities of painting and film, the intertwined relation of our subjectivity to cultural identity, and the ways we address what we experience in life in parallel to the mediated world of images.

Pasadena, CA — The Norton Simon Museum presents Taking Shape: Degas as Sculptor, an illuminating exhibition that explores the improvisational nature of Edgar Degas's artistic practice and considers the affinities between sculpting, painting and drawing in his oeuvre.

Characteristic of Dawson's practice, these works present an exploration of the continuities of nature and civilization, and a belief in the enduring vitality of beauty and painting as a primary form of visceral and visual communication.

Challenging aesthetic norms of what sculpture or painting or installation or plain photographic documentation is, Smit's artistic practice presents a series of new works that are the result of the serendipitous nature of life interpreted as an errare.

The process of revealing images, concerns a rigid, obsessive practice as the painter applies layer upon layer of paint at the same time of day, capturing a specific quality which reflects the ongoing progression of nature: the seasons, the weather and the amount of light available.

Known for bridging the Neoclassic tradition of allegory set in nature with Realism and plein air practice, Jean - Baptiste - Camille Corot embarked on his artistic career by studying landscape painting.

Also featured are two documentation videos from 1979, Painting Himself in a Corner and Circle Play, which speak to the performative nature of Haring's practice and illustrate the fluidity of his line.

He views his practice as an exploration of painting as an artifact of how life is lived; and the notion of art as a nexus at which nature, culture, and self come together.

In her latest series of works, painter Fiona Rae RA has left behind her familiar working practices to explore ideas about the very nature of painting.

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.

As an artist and writer he was deliberate as nature, and this body of work represents a parallel to his ongoing consideration of painting practice in the aftermath of modernism.

Beyond the physicality and process of Zammitt's paintings and sculptures, his art making practice is more about color, light and energy, not only from formal perspectives, but to evoke a sense of nature and one's emotions and spirituality.

But, even so, despite the limited nature of many of the paintings in the show, there is an ongoing, very high level of artistic practice.

His use of colour, form and material as elements in a compositional lexicon, as well as the stained or dyed fabrics which are his principal medium, declare the origin of his practice in the investigation of painting in an expanded field, while the way his compositions occupy and transform space are evidence of their sculptural nature.

These deliberate and calculated gestures, which Richter employs to both apply and subsequently remove passages of pigment from the surface, are at the heart of his painterly practice, designed to dissect the nature of painting and produce a work that is part chance, part inspiration, part creation and part destruction.

Their practice consists of artwork that examines the nature of the object via the use of shadows and the recording of bodily actions and static objects through video, paint, sculptural elements and charcoal media.

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.»

This month they are presenting their sixteenth show with British artist Anish Kapoor, which will include new large - scale silicone «paintings» and work on paper:» The show explores the affective nature of painting from the multiple perspectives of Kapoor's varied working practice.

The path forward in art - historical terms was split between those artistic movements more aligned with deeper investigations into the increasingly essential properties of a particular medium or reductive practices (e.g., Abstract Expressionism, Color Field painting, Minimalism) and those movements that actively sought an expansion of the arts into a plurality of new forms, hybrid media, and interactive experience (e.g., expanded cinema, intermedia, installation art, performance).13 Of these choices, hippie modernism would follow the latter course through experiments that drew upon the theatrical qualities and the participatory actions of the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic arof a particular medium or reductive practices (e.g., Abstract Expressionism, Color Field painting, Minimalism) and those movements that actively sought an expansion of the arts into a plurality of new forms, hybrid media, and interactive experience (e.g., expanded cinema, intermedia, installation art, performance).13 Of these choices, hippie modernism would follow the latter course through experiments that drew upon the theatrical qualities and the participatory actions of the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic arof the arts into a plurality of new forms, hybrid media, and interactive experience (e.g., expanded cinema, intermedia, installation art, performance).13 Of these choices, hippie modernism would follow the latter course through experiments that drew upon the theatrical qualities and the participatory actions of the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic arof new forms, hybrid media, and interactive experience (e.g., expanded cinema, intermedia, installation art, performance).13 Of these choices, hippie modernism would follow the latter course through experiments that drew upon the theatrical qualities and the participatory actions of the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic arOf these choices, hippie modernism would follow the latter course through experiments that drew upon the theatrical qualities and the participatory actions of the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic arof the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic arof experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic arof light and sound as well as the interactive qualities of kinetic arof kinetic art.

Kvas» research has been devoted to questioning the nature of paintings and painting practice.

This exhibition will explore the nature and implications of definitions as they relate to the artists» practice: do terms such as «painting» or «craft» play a necessary role in artistic production?

She put these ideas into practice in the development of what has come to be called her All Over style, an approach to painting that covered the entire surface of her works with abstract motifs evocative of nature.

True to its title, this collection of new paintings explores the communicative potential of art - both in practice and in presentation - how art can translate the essence of nature.

The time - based nature of photography is the core of Sam Falls» practice, which he expands into sculpture, painting and video.

Von Lenkiewicz's deft handling of these seemingly disparate aesthetics form an arresting series of paintings that, in dialogue with the works of Picasso, demonstrate the reconcilable nature of Eastern and Western artistic practices.

Additionally, wooden panels are standing freely throughout the space, painted on both sides with motifs reminiscent of nature - referring to Calero's previous painterly practice on canvas.

Dennis Hollingsworth: Terrestrial At the heart of Hollingsworth's practice is a rigorous fidelity to the dichotomous nature of painting.

Known for his heterogeneous practice, Aldrich slashes through canvases to expose the stretcher, plays with abstraction to obliquely reference the face and ruminates on the nature of painting.

In a period when anything hung on a wall must be instantly afforded the status of painting, when we are confronted by «paintings» that have been made without any recourse to paint whatsoever, created with printers and scanners, or with the assistance of nature, bleached by the sun, stained by the rain, a pretense of process art to painting en plein air, and very late in the day, an engaged practice of painting, rather than dismissed as a thing of the past, is ever more present.

He thus constructed his practice in a constant back - and - forth between the physical impulses of work in the studio and the resurgences of a sensorial memory, between the transcription of the sense of nature and the conception of pure painting fundamentally liberated from any kind of imagery.

Her practice encompasses the use of a wide range of media, from sculpture to painting and textiles; in particular, she explores elements of chance, nature, memory, language, geography and social interactions.