Sentences with phrase «organizing the forms painted»

Not exact matches

Characterizing Indigenous peoples who engage in the tobacco trade as gangs, criminals or members of organized crime is racist, factually wrong and is itself a form of hate crime insofar as it paints all Indigenous peoples in the trade as criminals and dangerous.

Exhibited widely, in 2008 the Kunstmuseum Wolfsburg organized a retrospective survey The Life of Forms in Art: Paintings 1980 — 2008.

Nothing but clearly - organized, self asserting painted surfaces of non - objective / non-representational form and color, these pictures were so radically new that they seemed to many people to have announced the end of painting and, even perhaps, of art itself.

The cultivation of a personal interior space or Inside allows room for psychic and emotional development, a place to organize memories, emotions and wishes into coherent forms: paintings, drawings and sculptures.

«Mal Maison,» organized by Ashton Cooper, brings together a diverse group of artists, among them Keltie Ferris, Simone Leigh and Shinique Smith, whose approach to the portrayal of the female form draws on queer and post-colonial thought in abstract and materials - based paintings and sculptures.

In what one may call the painting's melodic «theme,» this form is in turn echoed and inverted in its adjacent «variations,» three regions that, in an aggressive improvisation on the structural unity of the central organizing principle of the canvas, respectively reveal more (or less) actual newsprint than the central black rectangle.

In 2000, the IVAM museum in Valencia organized a retrospective survey of his work, as did the Kunstmuseum Wolfsburg in 2008, entitled The Life of Forms in Art: Paintings 1980 - 2008, with a publication by Hatje Cantz.

Published on the occasion of the artist's retrospective at the Solomon R. Guggenheim Museum, New York, organized by Katherine Brinson, Associate Curator, and supported by the Andy Warhol Foundation for the Visual Arts, this exhibition catalogue presents a rich selection of paintings, photographs and works on paper, forming the most comprehensive examination of Wool's career to date.

In 2008 the Kunstmuseum Wolfsburg organized a retrospective survey, The Life of Forms in Art: Paintings 1980 - 2008, with a publication by Hatje Cantz, featuring contributions by Markus Brüderlin, Holger Broeker, Kay Heymer, and Brooks Adams.

Taking a monochromatic grey palette as its organizing principle and aesthetic theoretical vehicle, this exhibition reveals the emergence of that which subtracts or divides — a polemics of black and white or the search for a middle ground, a shade of grey — in the work of artists from around the globe: including Shiva Ahmadi, Yasima Alaoui, Ayad Alkadhi, Afruz Amighi, Reza Aramesh, Shoja Azari & Shahram Karimi, Bruce High Quality Foundation, Dilip Chobisa, Seth Cameron, Arthur Carter, Noor Ali Chagani, Nick Farhi, Nir Hod, Rachael Lee Hovanian, Joseph Kosuth, Liane Lang, Farideh Lashai, Shirin Neshat, Enoc Perez, and Dan Witz, Grisaille: originally derived from a 19th century term for monochrome painting, especially the portrayal of three dimensional objects in two dimensional form, of which the work of British based Liane Lang in this exhibition approaches the closest contemporary example of this art historical origin, the gris or grisaille is updated in this exhibition to reflect the embattled gesture of not simply the monochromatic, but also any opposition to color as such, in at once its aesthetic and political modes.

Debra Wolf reviews «Luxe, Calme et Volupte» in the Atlanta Journal - Constitution: «Order and beauty form the organizing principle in an engaging new painting exhibition at Marcia Wood Gallery curated by artist and writer Joanne Mattera.

These paintings formed part of a touring exhibition in Georgia commemorating the 50th anniversary of Churchill's death that was organized by the Millennium Gate Museum, Atlanta, GA (2014 - 15).

In 2008 the Kunstmuseum Wolfsburg organized a retrospective survey, The Life of Forms in Art: Paintings 1980 - 2008, with a publication by Hatje Cantz, featuring contributions by Markus Brüderlin, Holger Broeker, Kay Heymer, and Brooks Adams.

What I Did On My Summer Vacation, White Columns, New York, NY; (benefit photography project)(13 Sept. - 20 Oct.) Form als Ziel mündet immer in Formalismus (Mies van der Rohe) Galerie Rolf Ricke, Köln, Germany; (7 June -10 Aug.) Painting In An Expanding Field, Usdan Gallery, Bennington College, Bennington, VT, organized by Saul Ostrow Square Bubbles, Nott Memorial Art Museum, Union College, Schenectady, NY; curated by Arthur Gibbons Painting Outside Painting: 44th Biennial Exhibition of Contemporary American Painting, The Corcoran Gallery of Art, Washington, DC; curated by Terrie Sultan (Dec.), cat.

And the pathos of the reduction or fragility of the self within a culture that becomes increasingly organized through industry, economy and the state intensifies the desire of the artist to create forms that will manifest his liberty in this striking way — a liberty that, in the best works, is associated with a sentiment of harmony, and the opposite stability, and even impersonality through the power of painting to universalize itself in the perfection of its form and to reach out into common life.

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