Sentences with phrase «new pictorial space»

Through these new materials — polyester, cotton fibers, cut canvas, burlap, glue, neon, glass etc. — the canvas became a theatrical place where a new pictorial space could emerge.

In the catalog for the exhibition, Kathryn Tuma observes in her essay that, «the theoretical nature of these figures is significant, and is entwined with [Winters's] interest in the generation of new pictorial spaces.

Challenging the eye of the beholder, Reed's dynamic constellations never cease to open up new pictorial spaces: the energetic and singular gesture brushstroke of former works progressively condenses into structures of lines, waves or loops that often seem like edits from some other context, called into offer counterpoint in new visual arrangement.

Not exact matches

Artist Statement Shara Hughes» new paintings present layers of abstracted, actual and pictorial space, all in search of simplicity.

In 1974, in reference to a New York gallery show by Judy Rifka, Jeremy Gilbert - Rolfe wrote that the artist addressed «the question most crucial to painting in general at the present time: the question as to how far the — currently compromised — abstract «depth» of pictorial space can be newly considered — retrieved — through attention to the material basis of the conventions on which that experience of «depth» relies.»

Many of the artists represented in the collection have explored drawn formats extensively, questioning its status and conceiving new forms of the dessin: e.g. Trisha Donnelly, who fuses drawing and video; Urs Fischer, who creates drawings in three - dimensional space; or artists like Raymond Pettibon, Larry Johnson and Mike Kelley, who work with the pictorial idiom of comics.

John Weightman as Francis Bacon: Full Face and in Profile, Oxford 1983, pl.101 (col.) H. Platschek, «Francis Bacon: Alle Kunst ist Instinkt», Art: Das Kunstmagazin, no. 10, Oct. 1984, p. 34 (col.) Wieland Schmied, Francis Bacon: Vier Studien zu einem Porträt, Berlin 1985, p. 127, pl.170 Friedhelm Mennekes, «Francis Bacon: Distanzierung vom Augenschein - Transformation des Mythischen», Kunst und Kirche, no. 1, 1986, p. 36 Michel Leiris, Francis Bacon, London 1988, pl.94 (col.) Wieland Schmied, Francis Bacon: Commitment and Conflict, Munich and New York 1996, [p. 131], pl.38 (col.) Into a typically restricted pictorial space Bacon brought together the four protagonists listed in the painting's title: Three Figures and Portrait.

Known for her innovative methods that extend pictorial devices used to expand perspective into three - dimensional space, Al - Hadid opens new terrain for contemporary sculpture while simultaneously recovering influential visual histories.

The 13 works on view highlight the formal similarities between the artists» work and illustrate a parallel shift in their conception of pictorial space — from a figural abstraction to a new sense of openness and expansiveness.

While each of the groups in our exhibition had distinct aesthetic positions, they were united by a common interest in empirical investigations of color and new models for pictorial space.

Much like her paintings in the past two iterations of NDA, the artist's new series of geometric abstraction becomes even more architectural as she continues her study of visually defining «place», giving the viewer a sense of being able to walk into and inhabit the pictorial «space».

In Dustin London's new paintings pictorial space is something malleable, shifting, and subversive.

Known for her innovative methods that extend pictorial devices used to expand perspective into three - dimensional space, Al - Hadid opens up new terrain for contemporary sculpture while simultaneously recovering influential visual histories.

Ferris is best known for her large, multi-layered paintings that depict glimmering pictorial spaces, inspired by various subjects including digital image pixelation, New York City graffiti and city lights that are visible from her Brooklyn studio at night.

A desire to dig deeper into pictorial space, coupled with her careful study of Cézanne, especially his practice of drawing with colour, led to a new structure — the introduction of planes formed by the junction of intersecting verticals and diagonals — and of colours and contrasts.

Similar ornamental motifs are deployed in a several entirely abstract meditations, Crescent Totem, and in two works (Observatory and Muscorum) that revisit the Artificial Paradise series of 2008, a title that references the dark, refined sensuality of Charles Baudelaire and the new frontiers of poetical and pictorial space explored in his writings.

In his «Re-emergence» series of works the artists at first seeks to create an atmosphere freely, without being bound by realistic restrictions, introducing a new element, the geometric organisation of the pictorial space.

In his most recent exhibition, «Paraisópolis,» Bisky made a new and promising turn to a more abstract handling of content and pictorial space.

Paul Corio posts the second part of painter George Hofmann's theory of a «new kind of pictorial space beginning to crystallize in painting which he refers to as «Fractured Space.»&rspace beginning to crystallize in painting which he refers to as «Fractured Space.»&rSpace.»»

Informed by new materials and technologies, Mack's aim was to abandon the traditional idea of pictorial space, and instead focus solely on an overall surface with the effects of light, reflection and motion.

While this term is often associated with American painting, specifically Abstract Expressionism and Color Field painting, Declaring Space addresses this concept from an international viewpoint, blurring national labels for a set of spatial themes that were evoked in abstract art in the latter half of the twentieth century, where the boundaries of traditional pictorial space were crossed and a new realm of abstract theater was engSpace addresses this concept from an international viewpoint, blurring national labels for a set of spatial themes that were evoked in abstract art in the latter half of the twentieth century, where the boundaries of traditional pictorial space were crossed and a new realm of abstract theater was engspace were crossed and a new realm of abstract theater was engaged.

Filtering the world around him into his own pictorial space throughout an incredibly prolific career, Green's works are useful markers in illustrating the rapid shifts of the world around him as it entered a new and chaotic century.

Or it could be that the new pairings evoke another set of relations entirely, relationships that cross heteronormative pictorial space and gender identification.

After moving to New York City in about that time, he joined the dynamic art scene in Greenwich Village, frequenting the Cedar Tavern on Tenth Street, associating with the critic Clement Greenberg, and joining a new generation of abstract artists who were exploring the limits and possibilities of art by experimenting with new techniques and ways of organizing pictorial spaNew York City in about that time, he joined the dynamic art scene in Greenwich Village, frequenting the Cedar Tavern on Tenth Street, associating with the critic Clement Greenberg, and joining a new generation of abstract artists who were exploring the limits and possibilities of art by experimenting with new techniques and ways of organizing pictorial spanew generation of abstract artists who were exploring the limits and possibilities of art by experimenting with new techniques and ways of organizing pictorial spanew techniques and ways of organizing pictorial space.

We can now see his earlier pieces in a new way; if each brush stroke is both abstract (in form and idea) and representational (of a stroke, of «painting»), could there be a space of «pictorial abstraction» in which the duality can persist?

Kahn is also interested in the idea of an undefined abstract space: an idea that he feels has emerged through the tension of architectural and pictorial space, and the emergence of a new form of space created in the advent of digital technology.

Her newest works emphasize the ceiling as pictorial space, drawing inspiration from Renaissance and Baroque murals that made ceilings into illusionistic, mythological zones.

He retained his overall pictorial language but added the new element of space, placing his symbols within a defined foreground and background, though without suggesting any particular landscape.

The American painter Morris Louis (Bernstein; 1912 - 1962) explored new realms of pictorial space with his series the Veils, the Unfurleds, and the Stripes.

The photographers of the New Objectivity took inspiration from architectonic space in devising experimental pictorial concepts that unlocked an enlarged realm of visual impressions.

Although he would eventually be considered one of the preeminent Abstract Expressionists, having relocated to New York in 1932, Hofmann's primary interest was in pictorial phenomena: the illusion of three - dimensional space, composition, and the optical effects of color.

At this intersection the ephemeral, un-located space of digital video is attached, by means of projection, to the fixed object of a painting, illuminating it with a new color space, code - derived content, and the element of time to construct a hybrid pictorial space.

«To see their work for the first time on display beside a venerated modern master, we are compelled to consider the many striking similarities in pictorial space and aesthetic sensibility, leading us to perhaps reevaluate the caliber of their genius, against the outsider stigma imposed upon this still - new art by bigoted minds.»

The images challenge the notion of how to make a line or create a new posture for flattened space or abstract composition, swivelling from geometry to gesture, propelling representation and language into abstraction, exploring pictorial edges and boundaries as well as the constitutive or disruptive role of blank space,.

These themes include re-envisioned landscapes, Surrealist meditations, Cubist interpretations of space and form, and «the field» as a new metaphor for pictorial action.

«It created a new form of pictorial space that Braque arrived at from his close study of Cézanne's landscapes.»

If Stella's call for a new sense of space tends too quickly towards a literal - minded interpretation, the problem with Peter Halley's Neo-Geo abstraction was that it moved painting into a philosophical, theoretical, and technological / conceptual space which was literal or literalizing in its very own way (e.g., as geometric abstractions came to serve as the pictorial ««models» of intellectual concepts»).