Sentences with phrase «objects into paintings»

His constructions integrating found objects into paintings were the first such works created in the United States and he painted two of the five Williamsburg murals, the first abstract murals in the United States.

Artists have long incorporated objects into paintings on canvas, but what should we call a work if no paint or canvas is involved?

Hawkins also collaged reproduced images and found objects into his paintings.

As a student in the 1970s, Bender tinkered with variations on Pop art and began to incorporate found objects into his paintings and sculptures, eventually realizing that assemblage afforded a way to make use of his compulsion to collect.

As he became more successful, Hawkins began to collage mass media images and eventually found objects into his paintings, and he developed a technique he called «puffing up» a shape: building it up from the support by mixing cornmeal into the enamel paint.

In the 1950s, Rauschenberg created what would become his most well - known «combines,» where he merges painting and sculpture by adhering photographs, detritus, and found objects into paintings.

Evoking the rebellious post-Pop aesthetic of New York, Laska often incorporates recycled waste materials and found objects into her paintings, sometimes reworking parts of earlier canvases entirely.

To define the process and clarify the medium I needed to explain the amount of labor needed to transform a small found object into paint.

At the same time, Johns and Rauschenberg, by introducing common objects into their painting, deflected the inward - looking of Abstract Expressionism outward, at the environment.

Not exact matches

This painting works because the objects are life - size and depicted in hyper - realistic detail, and also because Remps laid a set of decoys that hoodwink our visual system into perceiving depth, says Priscilla Heard, a neuropsychologist at the University of the West of England in Bristol, UK.

Water was «read» by their mind, heart, sensorial attitude, into a valuable process of transdisciplinary knowledge.3 The visit to The Water Tower4 of the town and its museum facilitated the real knowledge of the objects and instruments that were used during the centuries by the rural and urban civilization concerning the use of water; the creative workshops facilitated unexpected «meetings» between poetry, music and painting in the artistic imaginary frame of water; the presentations revealed the magic powers of the water as they are known in folklore, mythology and also the astonishing Bible significations of the water and its use in religious rituals; the scientific outlook on water brought forward for discussion its physical - chemical properties, its role in the human metabolism and in all living beings.

Publishing Trinie Dalton writes an appreciation of Dan Nadel's recently shuttered PictureBox: «It elevated comics and D.I.Y. projects into objects of high - design beauty, often through collaborations between zinesters, cartoonists, musicians, animators, and graphic designers eager for revolutionary assignments; or through showcasing artists who prove those camps are not mutually exclusive, like Ben Jones of Paper Rad (Pig Tales, B.J. and da Dogs, Men's Group: The Video, New Painting and Drawing).

The visuals are remastered, however, the backgrounds stay true to the original, and if you haven't experienced the original release you should be pleased to know that they looked amazing back then and because of the art style they used back then it beautifully renders into the newly remastered characters and objects that has gotten a fresh coat of paint.

These deeply personal emotions I have toward these objects... breathe life into them as the subjects of my paintings.»

That tone was set at the opening night's performances: Lee Mingwei's durational performance Our Labyrinth (2015), for which a dancer swept the floors of the galleries with a mixture of grains, purifying a path for visitors; Aki Sasamoto's Delicate Cycle (2016), which included such domestic objects as washing machines and bundles of clothing; and Olivier de Sagazan's Transfiguration (2016), in which de Sagazan used clay, paint, and hair to transform himself into a shamanistic figure.

(p. 47) In another, Goodnough offers a summary of Newman's observation that «the act of painting and the bringing into existence of an art object are one and the same process.

In both the «Gray Paintings (Loxodonta)» and the «Organ Pipes», the materiality of the objects open up to suggest a vast scope of cultural production — the elemental tin transformed into the majestic pipe organ, an achievement of pre-industrial design on par with horology; the «Gray Paintings (Loxodonta)» echoing the stone surface of prehistoric cave paintings and also the modernist tradition of the moPaintings (Loxodonta)» and the «Organ Pipes», the materiality of the objects open up to suggest a vast scope of cultural production — the elemental tin transformed into the majestic pipe organ, an achievement of pre-industrial design on par with horology; the «Gray Paintings (Loxodonta)» echoing the stone surface of prehistoric cave paintings and also the modernist tradition of the moPaintings (Loxodonta)» echoing the stone surface of prehistoric cave paintings and also the modernist tradition of the mopaintings and also the modernist tradition of the monochrome.

Piffaretti's paintings incorporate both individual expression and duplication of that expression into the final art object.

It was as if the forms were found objects that when pulled into the painting brought some of the feel of where they had been in the world with them.

Returning to the years immediately following his move to New York City in 1958, the exhibition illustrates the ways Dine incorporated household objects ---- often loaded with autobiographical import ---- into his paintings and sculptures as extensions of and metaphors for the human body.

Subtle, unsettling investigations into the ways in which objects can be transformed by context — and the construction of the context itself — are the hallmarks of Carissa Rodriguez's photos, paintings, videos, and installations.

In contrast to works that incorporate found everyday objects, such as the «Combine» paintings of Robert Rauschenberg or the Dada collages of Kurt Schwitters, Almquist's experimental paintings extend his picture plane into three dimensions with constructed elements of disjointed, dream - like imagery.

His work spans a range of media including photography, painting, sculpture, installation and use of the ready - made to create assemblages from everyday found objects such as books, ceramics, TV sets and other house - hold goods and paraphernalia, which Liu Wei transforms into sculptural objects and installations of eloquent complexity.

Serving as an overdue affirmation of Hoyland's significance within the field of abstraction, they provide fascinating new insights into the artist's practice, and through it, the object of painting itself.

But her relation to representation is not in the realm of narrative or allegory, the thing itself is the important thing, the painting as an object that projects into our space carrying pigment on its surface.

In keeping with his thorough investigation into image and reflection, the exhibition will include some of these objects, together with four paintings from the series Self Portrait with Skull Hat.

This question took her down a rabbit hole of experiments with painting on and people and objects that led her to develop an optical illusion for turning three - dimensional spaces into what appeared to be two - dimensional paintings.

Deftly working in a range of media — including photography, painting, sculpture, and video — Johnson incorporates commonplace objects from his childhood into his work in a process he describes as «hijacking the domestic.»

Walking the streets of New York, he picked up trash and discarded objects that interested him, integrating them into bold paintings or assembling freestanding sculptures.

Carolee Schneemann: Kinetic Painting begins with rarely seen examples of the artist's early paintings of the 1950s and their evolution into assemblages made in the 1960s, which integrated objects, mechanical elements, and modes of deconstruction.

Gibson mounts it on the wall, replacing its traditional protective cover with painted rawhide — transforming the domestic object into a Shield.

However, I can also see them as objects and even make them into objects — by painting them, for instance.

Starting with lost and «abandoned» footage created by Deren, McElheny has re-filmed, deconstructed and extensively processed these moving images to suggest a world of abstraction that sometimes coalesce into bodies or objects, or, in reverse, where mannerist bodies passing through the painting seem to dissolve themselves into granular abstraction.

Wood, paper, photography, playing cards and paint are transformed into objects that are simultaneously precise and diffuse, real and unreal, as well as rhythmic and static.

The gallery's website describes Chamberlain's process as «crumpling, crushing, bending, twisting and welding to form individual objects, which may be further painted and sprayed, [and combined] into aggregations, often on a monumental scale.

Furthermore, through his signature taches of paint, Cézanne throws into doubt the materiality of objects in his still lifes, or nature in his landscapes.

A look at Estes's rarely - exhibited source photographs, many of them pieced together into panoramic photo - collages, confirms that his paintings are highly constructed objects.

Leckey, suave in evening dress, delivers his peroration on images and objects, on Philip Guston's «thick - as - a-brick» paintings, on deformed feet in Georg Baselitz, on cats, on James Cameron's movie Titanic, on Marx's «All that is solid melts into air», and a great deal more.

How are the status and meaning of an artwork — whether an Ancient Greek statue, a digital photograph, or a painting by an itinerant portraitist — altered through the creation of facsimiles, through exhibition, or through the conversion of the object into image or code?

Her large - scale works often incorporate appropriated art objects, compressing expressions of painting, photography, and digital technology into a single frame.

The artist's approach to painting includes utilizing the most intimate material residues of life — textiles, texts, and traces of objects — all transformed into active fields of energy, empathy and history.

And while it has been popular of late to display actual handmade African - American quilts, such as the ones exhibited in upscale New York galleries, Huckaby's act of repainting quilts disarms them as fetishized aesthetic objects while folding their weighted cultural meaning into the history of painting.

In an effort to liberate her works from the Euclidian space of wall and floor, Grosse also incorporates into her multidimensional paintings a variety of unexpected objects, including beds, clothes, balloons, shaped canvases, and soil.

Fabrics and patterns, wood and fur, props and found objects — all of these materials have found their way into paintings and drawings creating an overall impression of inclusion or openness.

We know that when Stella began to make his paintings, he turned them into objects.

Families will explore a climbing structure, walk into a larger - than - life painting and create sculptures made of found objects, all developed to help improve their visual literacy.

Consisting of large, slick, and colourful C - prints, these glorious manifestations result from one simple click of Photoshop's gradient tool, which improbably morphs them into luxury objects reminiscent of abstract painting.

However, he does not paint from reality, but rather from memory, transforming a generic object into an object of beauty through close attention...

By combining text and the painted figure with objects and drawings from his unconscious, Shaw's works twist politics, religion, and belief into one long dream sequence.

The passion, chaos, rage, and femininity of a woman's personal riot in the current political landscape can be seen throughout the works, with the vibrant colors, physical gauging of the paint, tearing and pressing of materials into the canvas, and the placement and destruction of female objects creates a fiery and feminine event.