Sentences with phrase «new picture plane»

Her wall paintings aim to dissolve the boundaries between figure, ground and support — creating a new picture plane that differs from her works on canvas.

His smaller works look like failed attempts to recycle wood scraps as picture frames, and indeed an early listing called his latest show «The New Picture Plane.»

Not exact matches

Mike Stanyard at Cornell University in Ithaca is using the FAA's site in rural New York to test an autonomous plane (pictured) designed to help farmers track their crops and animals.

A mysterious CIA handler called «Schafer» (Domhnall Gleeson) recruits him to fly a super-slick new plane in order to take pictures of radical training camps in Central America, where Seal gets approached by Pablo Escobar and other leaders of the Medellin Cartel to start delivering huge amounts of cocaine to America.

But a picture of people in the subway from The New York Times lacked the necessary depth to show subjects in the fore and back of the frame, so all the figures appeared to be on the same plane.

These new planes are outfitted with Cathay's new (ish) premium economy cabin (pictured above), business class and regular economy class — no first.

Cornish's post includes a new statement by Roth who says of her work: «The here - to - fore thought to be sacrosanct picture plane, it turns out, had been overly literalized.

There are no formal boundaries in his work, instead he is constructing a portrait that goes beyond the flat picture plane, creating shadows and shapes that elicit a new way of looking at the portrait as a response to the way images are treated today.

With a witty scattering of white highlights, a painting like the mixed - media - on - paper «Schubert Quartet» (1950 — 51) defies the reverence for the picture plane that was at the time putting New York at the center of the art world map.

The gradual arc of gray iron reaches out of the space defined by the traditional picture plane to break new ground (literally and metaphorically), occupying an area normally denied to it by wall mounted work.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century - of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life - continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

In Ed Ruscha's series of holograms produced the same year, the phrase «The End» floats at various depths in the picture plane, set against animated lines scratched into a celluloid surface, and offering a new twist on the interplay between text, landscape, and spatial representation for which Ruscha is known.

The new paintings are less busy, with less of a central construction hogging the picture plane.

In a new body of work, he's tackling the built space within the picture plane.

Seeking new ways to negate or efface the picture plane, artists such as Douglas Gordon, Mark Grotjahn, Wade Guyton, Adam McEwen, Albert Oehlen, Richard Prince, and Rudolf Stingel represent sustained challenges to the limits of painting, both real and imagined.

As a student in 1949 at the Art Students League of New York, for example, he laid paper on the floor of the building's entrance to capture the footprints of those entering and exiting.10 The creation of receptive surfaces on which to record, collect, or index the direct imprint of elements from the real world is especially central to the artist's pre-1955 works.11 Leo Steinberg's celebrated 1972 article «Reflections on the State of Criticism» isolated this particular approach to surface as collection point as the singular contribution of Rauschenberg's works of the early 1950s, one which galvanized a new position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue of a visual experience of nature but of operational processes.&raqNew York, for example, he laid paper on the floor of the building's entrance to capture the footprints of those entering and exiting.10 The creation of receptive surfaces on which to record, collect, or index the direct imprint of elements from the real world is especially central to the artist's pre-1955 works.11 Leo Steinberg's celebrated 1972 article «Reflections on the State of Criticism» isolated this particular approach to surface as collection point as the singular contribution of Rauschenberg's works of the early 1950s, one which galvanized a new position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue of a visual experience of nature but of operational processes.&raqnew position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue of a visual experience of nature but of operational processes.»

In a statement to the New York Times in 1943, Gottlieb and Mark Rothko summarized their aesthetic beliefs: «We want to reassert the picture plane.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century — of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life — continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

Opening March 20 at Denny Gallery, New York is «Terrible Shadow,» a solo exhibition by Michael Rudokas who combines found fabrics, concealing and revealing the space behind the picture plane.

Kunath's new paintings offer even more ambitious equations, with single picture planes, including variables as diverse as history painting, still life, comic book imagery, commercial illustration, nature photography and lyrical references.

He shows his range in these later works gleefully inventing and exploiting new spaces in the picture plane: 1951's Every Atom Glows: Electrons in Luminous Vibration is a delicate black - and - white oil painting, while his Alabama II, 1969, is a strong protest work — a rectangular field of red in which a triangular wedge evoking bodies marching or a megaphone's amplified language emerges in glossier red on the painting's surface.

Extending upon the artist's core interest in investigating aggregative procedures using a singular material, the new series is comprised of wall - mounted framed works in various sizes that explore stratification as both a sculptural technique and a means to construct a two - dimensional picture plane.

Further, beyond blurring the boundaries between abstract and figurative impulses, Gaman's insistence on developing an ambiguous picture plane also serves to force the viewer to find new avenues of pictorial interpretation.

Sharing an immersive figure - ground relationship, paintings by Elsworth Kelly or Mark Rothko can be all - consuming whilst Nintendo screens, as the artist explained «allow you to build new vectors of activity and anticipate space, as the eye and the mind move off screen or out of the picture plane».

Kelly comments that the evocative potential in his newer work, constructed from discrete marks that cross the picture plane, interests him: «That, to me, is the point: the way in which basic, universal configurations of simple units can end up constructing, in a viewers mind, an incredible range of things - a range that is, ultimately, limitless.»

Although the shapes of body parts represented in these new paintings are familiar, all sense of narrative is lost by their dispersion across the picture plane and the composition as a whole becomes abstract.

These three painters are graduates of the New York Studio School, well known for its connection to the original New York School luminaries and its emphasis on a particular facet of composition known as «the picture plane.»

Yun visited New York in 1974, where he encountered the work of American postwar artists including Mark Rothko, which led him to further explore ways to divide the picture plane.

While trees and animals are a recurrent theme in the artist's oeuvre, the works depicting birds on branches represent a new departure in terms of movement and composition, with the latter expanding to fill, and even exceed, the picture plane.

The energetic abstract works executed during this period push the boundaries of the flattened picture plane and speak to her immersion in the Abstract Expressionist milieu in New York at midcentury.

In some of her new paintings, objects may be removed from the surfaces of the work in the style of props — transferred from the picture plane into «real life».

For Latham, the qualities of spray paint opened new approaches to form by breaking through the impasse contemporary painting had reached and allowing the convergence of art and science: «It destroys the picture plane in a legitimate way where contemporaries were at such pains to establish that plane,» he later explained.

«It seemed it was not a mirrored object but an object full of mirroredness... If the traditional sublime is in deep space, then this is proposing that the contemporary sublime is in front of the picture plane, not beyond it this is a whole new spatial adventure.

Through pattern, line, shape, and color, Weiser's rich textured, platonic paintings re-invent the picture plane with a new space.

Selected group exhibitions include Planes, BFI, Miami, USA; Figure 8, Clifton Benevento, New York; 8 The Esplanade, Toronto, Canada; Mediated Images, Brand New Gallery, Milan, Italy (all 2015); Under Construction: New Positions in American Photography, Fotografiemuseum, Amsterdam, Netherlands and Pioneer Works, New York (2014 - 15); Fool Disclosure, Last Resort Gallery, Copenhagen, Denmark (2014); Hot Rare Signed, HHDM, Vienna, Austria (2013); and Photography Is, Higher Pictures, New York (2012).

In «Neue Pyramiden» (New Pyramids, 2003), the muscular torso of a male youth dominates the picture plane.

He often re-purposed and painted over canvases to unearth new compositions, pushing the spatial boundaries of the traditional picture plane.

Your new show consists of one work — a billboard of sorts, depicting various jellyfish, a seated woman garbed all in white with her head cropped out of the picture plane and another disembodied flayed figure holding a vacuum cleaner.

The new group exhibition Fractured at the Simon Lee Gallery in Hong Kong, will feature works of the prominent artists, Kathrin Andrews, John Baldessari, Bernard Frize, Louise Lawler, Daido Moriyama, John Stezaker, Christopher Wool, and Toby Ziegler, who, across a range of art disciplines, explore one of the modernism's most characteristic formal strategies, the fracturing of the picture plane, and who push the borders of their chosen mediums as well.

In the project gallery new collages incorporate watercolor, gouache, original photographs, found paper and thread elements into masterfully layered picture planes where positive and negative, recession and relief are constantly in flux.

By containing this sort of internal dynamism, the work brings new liveliness to the conventional two - dimensional picture plane.

Spilling his pigments down the length of the picture plane, Louis cultivated a new painterly autonomy, divorced from Abstract Expressionism's emphasis on the artist's hand and psyche.

During the 70s, he continued innovating - this time by rejecting his former emphasis on the flat, 2 - D nature of the picture plane, and incorporating collage, felt, wood and other materials into the new «relief paintings» of his Polish Village series (1970 - 1973).

So although Riley was arguably 12 - 13 years behind Vasarely, and 40 years behind the Dutch graphic Op artist M.C. Escher (1898 - 1972), she appeared to be the new pioneer of an entirely new method of pictorial representation, which revolutionized the power of the picture plane.

This exhibition will feature two large paintings, a stunning black «identified form» from 2005 and one of Innes» new works, a large vibrant green painting, where the picture plane is split vertically in half.

Then Analytical Cubism (1908 - 12)- probably the most intellectual of all the avant - garde movements - which rejected the conventional idea of linear perspective in favour of greater emphasis on the two - dimensional picture plane, scandalizing the arts academies of Europe - along with visitors to the Parisian Salon des Independants and the New York Armory Show (1913)- in the process.

If Tintoretto and the other old masters were «acknowledging the picture plane» or «acknowledging two dimensionality» by creating an unbroken surface skin, and modernist painting, since the breaking up of the surface, initiated by Constable (according to Heron, quoted by Robin in a recent thread), has acknowledged the picture plane through flatness of the remaining fragments / pictorial planes, then maybe one way forward would be to discover new ways of acknowledging two dimensionality that do not involve flatness.

It seems at least theoretically possible that a similar investigation into new ways of acknowledging the picture surface might turn up something other than parallel flat planes.

New York, curated by Anne Ellegood New Prints Winter, 2003, International Print Center, New York, NY 2002 Keine Kleingkeit (Not Really Small), Kunsthalle, Basel, Switzerland (catalogue) 2001 Ball Point Inklings, Geoffrey Young Gallery, Great Barrington, MA 2000 Points, Lines, Planes, Les Filles du Calvaire, Brussels, Belgium (catalogue) Bad Touch, Lump Gallery Projects, Raleigh, North Carolina Studio International, Paintings from the Ophiuchus Collection, The Hydra Workshop, Hydra, Greece Warped: Painting and the Feminine, Angel Row Gallery, Nottingham, UK (catalogue) Mapping, Territory, Connections, Galerie Anne de Villepoix, Paris, France Points, Lines, Planes, Les Filles du Calvaire, Paris, France (catalogue) Painting Function, Spaces Gallery, Cleveland, Ohio, curated by Saul Ostrow Joanne Greenbaum, Charlene von Heyl, Amy Sillman, James Van Damme Gallery, Brussels, Belgium Examining Pictures, Armand Hammer Museum, UCLA, Los Angeles, CA curated by Francesco Bonami and Judith Nesbitt 1999 Examining Pictures, Museum of Contemporary Art, Chicago, Illinois, curated by Francesco Bonami and Judith Nesbitt Nacht Bild (After Image), Kunsthalle, Basel, Switzerland curated by Peter Packesch Examining Pictures, Whitechapel Art Gallery, London, UK, curated by Francesco Bonami and Judith Nesbitt 1997 Current Undercurrent, Brooklyn Museum, Brooklyn, New York Painting Now and Forever, Part 1, Matthew Marks Gallery, New York, NY Exploiting the Abstract, Feigen Contemporary, New York, NY 1996 Explosion in a Tool Factory, Hovel, New York, NY Un Oeil Americain, Galerie le Carre, Lilles, France 1995 Wacko, The Workspace Gallery, New York, NY Other Rooms, Ronald Feldman Gallery, New York, NY Natural, Arena Gallery, Brooklyn, New York Jane Fine, Joanne Greenbaum, John Paul Philippe, Arena Gallery, Brooklyn, NY Pleasant Pebble, The Workspace Gallery, New York, NY 1994 New York Abstract Painting, Salvatore Ala Gallery, New York, NY 1992 Vibology, White Columns, curated by Bill Arning AWARDS AND FELLOWSHIPS 2010 Artist in Residence, CCA Andratx Art Center, Andratx Mallorca, Spain 2009 Joan Mitchell Foundation Grant 2007 Artist in Residence, The Chinati Foundation, Marfa, Texas 2005 Artist in Residence, Greenwich House Pottery, New York, N.Y. 2004 The Pollock - Krasner Foundation, Inc..

Her vibrant impasto painting lends a new quality to abstraction through the interplay of empty spaces in the picture plane.