Sentences with phrase «out of a painting practice»

Not exact matches

The author sets out to challenge conventional views of British government and governance, and paints a portrait of a storytelling political - administrative elite, with beliefs and practices rooted in the «Westminster Model», which uses protocols to deal with rude surprises and recurrent dilemmas.

«Oddball» is a decidely anachronistic presence as the leader of a tank outfit of pre-Beat, pre - «free love» hippies; they practice psychological warfare by playing music in battle and shooting paint out of their tanks.

Kalm notes that «Having a career that took off in the early 60s, with the legendary Ferus Gallery, [Foulkes has] been in and out of fashion, but has maintained a consistent practice that pushes the boundaries of painting.

I don't know what's «industry standard practice» for fine art galleries these days, regarding pricing works on paper vs. works on canvas, but my suspicion is that the reason for the * historical * difference between the two is that works on paper are perceived to be less «serious» (after all, watercolor started out as a quick way for oil painters to sketch out drafts), and less long - lasting (historically, a lot of watercolors were fugitive, and tended to fade with time, unlike varnished oil paintings).

There are faces, but they are depicted in ways that seem to cancel themselves out: a quick, semi-abstract mark, furtive smudges of paint, a collaged face cut out from another painting... Certainly these works present an accomplished artist asking questions about her own practice, questions such as: How can I paint the body in a more immediate way?

Freud's adherence to realism and focus on the human figure, when abstraction and other progressive forms of practice were more prolific, moved him in and out of the spotlight until the 1980's when renewed international interest in painting and figuration gave his work a new significance.

Murillo's huge and physically enveloping canvases (seen at Art Basel 20135), echo familiar threads through contemporary fine art painting practice — the energetic gestures and scribblings of Cy Twombly, the haptic scruffs and mixing of materials of Antoni Tàpies and Anselm Kiefer, the calling out (in script) of Colin McCahon6 and the drawing, foodstuffs and performances of Joseph Beuys and William Pope.L.7

In the late 1940s, he had studied at the Skowhegan School of Painting and Sculpture in central Maine, where he had practiced painting quickly out in the laPainting and Sculpture in central Maine, where he had practiced painting quickly out in the lapainting quickly out in the landscape.

The cast of characters in these discussions of Reinhardt's legacy has been largely consistent — with Frank Stella, Donald Judd, Carl Andre, and Joseph Kosuth being the most frequently mentioned — and neatly tracks the prevailing historical narrative of the sixties, progressing from (or out of) painting to object - and conceptually - based practices.

In these works, the processes of perception that inform the practice of painting are discreetly played out.

His process of working ideas out first on paper parallels my practice of using watercolor studies as a springboard into painting.

In the meantime, come back and check out the Outside the Lines column, which will continue to have regular reactions and reviews of exhibitions and painting practice, including a look at Peter Doig and Sidney Nolan.

Sidestepping any didactic elements in her particular style of feminist practice, Steir instead employs an approach to painting that makes metaphoric references to the leaks, seepages and flows of the female body, seeking to draw out allusions to something that is more random, intuitive, and created by chance circumstances.

The purpose of the conversation that took place over email was to further explore how these influences shape what the viewer sees, and to suss out to what capacity his studio practice informs the paintings.

This October, they will celebrate the 90 - year - long artistic practice of another legend, Alex Katz, with some unique oil paintings on wood from the Small Paintings series and cupaintings on wood from the Small Paintings series and cuPaintings series and cut - outs.

Sketches and formal compositions still inform the practices of painting and sculpture, and now artists might also draw layouts for installation art, storyboards for performances, or instructions that are acted out by viewers.

MH: Yes, I think the different practices do inspire each other and the same thing was my thinking, going there and actually physically making things out of clay and then coming back and making the same kind of imagery out of paint and a panel is part of the deal.

Asa Schick and Michael Meehan to be featured in the Painting Center's exhibition «Working it Out,» a celebration of preparatory practices and process.

From the cut - outs of Henri Matisse, the formulaic high realism and the color vibrancy of David Hockney (with special reference to his Fresh Flowers 2011 show at the Royal Ontario Museum featuring the iPhone and iPad drawings), Keith Haring, Roy Lichtenstein and Patrick Caulfield, the distinctive style of Alex Katz in both portraiture and landscape, the plant paintings of Lucian Freud, to Richard Hamilton's structural arrangement and axiality of the work surface and the aesthetics of the Josef Frank textile designs, we are continuously bombarded with a vast repertoire of artistic practices spanning several decades of art history.

The exhibition will debut new installations, videos, films, sculptures, performances, and paintings commissioned specifically for the exhibition and will offer a snapshot of the current trends and practices coming out of Los Angeles, one of the most active and energetic art communities in the world.

I'm currently experimenting with some larger works of Bristol back in the studio, but still keep heading out to paint, as the practice has developed in to quite an addiction.»

Paintings and drawings come out of his long - standing interest in politics, philosophy and the relationship between art theory and practice.

American painters emulated the work of their European counterparts to a certain extent and adopted the practice of painting out of doors.

Will focus on the current international situation of the non-figurative panel painting with about sixty artistic positions and will fan out the wide field of a still significant painter's practice.

In Struktur (2), carried out at the height of his practice, Richter creates a work of sensual pleasure and perhaps unwitting beauty; the viewer marveling at the rich optical sensation of freely applied paint and colour.

More than 25 years after his death, it is clear that Stamm's persona and character, his optimism about painting's enduring possibilities and future advancement, and his expanded practice both in and out of the studio were of great significance to his artist contemporaries.

An interest in the coalescence of form and space is apparent in Smith's practice and particularly stands out in the diversity of his watercolor paintings.

After a number of successful shows, including his sell - out solo exhibition at Madder139 in London, he now lives and works in Glasgow where his painting practice oscillates between sculptural form / object / image and performance.

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

Opening: «Fernando Mastrangelo: NOTHING» at Mike Weiss Gallery The paintings in «NOTHING,» designer / sculptor / conceptual artist Fernando Mastrangelo's new show at Mike Weiss Gallery, are made of dyed salt, but that's a relatively tame white powder when it comes to Mr. Mastrangelo's practice — in 2009, he unveiled a 30 - pound sculpture made entirely out of cocaine.

2017 Builders, Circuit 12, Dallas, TX Fantastic Facade, LVL3, Chicago, IL Deconstructed, Terrault Contemporary, Baltimore, MD 2016 Helter Skelter, Launch F18, New York, NY Water Work, Soho House curated by Patrick Muhundro and Andrea Bergart, New York, NY Transaction, Knockdown Center curated by Elijah Wheat Showroom, Queens, NY Knife Hits, Spring / Break Art Show, New York, NY Faulted Valley Fog, Transmitter, Brooklyn, NY Painting Reassembled, SUNY Westchester Community College curated by Erika Mahr, Westchester, NY 2015 Surface Matters, Knockdown Center curated by Holly Shen and Sam Katz, Queens, NY Handmade Abstract, BRIC, Brooklyn, NY Object» hood, Lesley Heller Workspace curated by Inna Babaeva and Gelah Penn, New York, NY 2014 Ultra Deep Field, Rockford University Art Gallery, Rockford, IL Site Lab, Old Morton Hotel, Grand Rapids, MI BRIC Biennial, BRIC Arts in partnership with LIU University, Brooklyn, NY Insider Joke, Hockney Gallery, Royal College of Art, London, UK 2013 Rushgrove House, Rushgrove House in conjunction with the Royal College of Art, London, UK Limber: Spatial Painting Practices, Herbert Read Gallery, Canterbury UK and the Grandes Galleries de L'Erba, Rouen, France Material, Storefront Bushwick, curated by Liz Dimmitt, Brooklyn, NY Middle Zone, Projekt 722, curated by Corydon Cowansage, Brooklyn, NY No Longer Preseidents But Prophets, Delicious Spectacle, Washington DC Inside Voices, Parallel Art Space, Brooklyn, NY Contemporary Drawing Today, Fort Worth Drawing Center, Fort Worth, TX Paint Things, DeCordova Museum and Sculpture Park, Lincoln, MA 2012 Bleach Blue, FJORD Gallery, Philadelphia, PA Primary, Nudashank, Baltimore, MD Masculinisms, Garden Party / ARTS, Brooklyn, NY Rockford Midwestern Biennial, Rockford Art Museum, Rockford, IL Fakin It, Meyer Gallery, University of Cincinnati, OH 2011 Living Arrangements, PLUG Projects, Kansas City, MO Off the Wall, Visceglia Gallery at Caldwell College, Caldwell, NJ Small Crowd, Mixed Greens, New York, NY Out of Practice, Art Blog Art Blog curated by Nudashank, New York, NY RISD Graduate Thesis Exhibition, Rhode Island Convention Center, Providence, RI New Insights, Art Chicago with NEXT cuarted by Suzanne Ghetz, Renaissance Society, Chicago, IL 2010 Interriuer / Exterieur, Dubois Galerie, Pont - Aven School of Contemporary Art, France Boston Young Contemporaries, 808 Gallery, Boston University Totemic, The Gelman Gallery, RISD Museum, Providence, RI

Despite the fact Martin did her best to seek out and destroy paintings from the years when she was taking her first steps into abstraction, the exhibition features examples of her experimental early practice — such as The Garden from 1958, for which she glued rows of found objects onto a background canvas.

The technique can be traced back to the 17th century and refers to the practice of painting out of doors: working with a sense of immediacy and freedom, embracing unpredictable elements, and following the natural cycle of light through time.

Yet equally his painting is the result of day - by - day graft in the studio, a practiced understanding of the effects and illusions that can be wrought out of his medium and a grappling with painting's fundamental dynamism «'' the superficiality of its depths and vice versa.

Yet, due to the visual superimpositions of present times, artists have started to shy away from the rigid limitations of - isms related to the «non-objective» or «reductive» and have embedded existing ideas, confluence of styles and approaches into the contemporary world, the here and now, mingling with popular culture as well as branching out of the studio practice inherent in painting as we know it and as the majority still likes to understand it.

August 22 - December 13, 2014 Opening: Friday, August 22, 2014, 5 - 8 pm in presence of the artist WORKS With painting as its point of departure, Manish Nai, born 1980 in Gujarat, India, developed his practice into a unique form in which he pasted gunny cloth onto canvas and created increasingly complex patterns in the fabric by cutting out bits of the warp.

In the rear gallery, the recent threads in Fish's practice are contextualized by two «Living Room» paintings (series: 2001 - 05), which the artist has described in terms of «floating out» over the plan.

Standouts include Carrie Mae Weems» holographic narrative about race, sex, and politics portrayed by ghostly characters on a burlesque stage; The Propeller Group's video that draws parallels between funeral practices in Vietnam and New Orleans, along with the collective's sculptures of tricked - out musical instruments, which were also photographed with members of Louisiana marching bands; Glenn Kaino's installation of water tanks that turn military machines into coral reefs; Jean - Michel Basquiat's paintings and works on paper that reference the cultural legacy of the Mississippi Delta and the South; Camille Henrot's video exploration of the universe by way of the storage rooms of the Smithsonian Institution; Tavares Strachan's 100 - foot long neon sign declaring «You belong here» from a barge on the Mississippi River; and Andrea Fraser's monologue, in which she recreated a heated debate by New Orleans city council members during a 1991 vote to racially integrate the Mardi Gras krewes — changing her voice and expression as she dynamically alternated between speakers, both black and white.

An alumna of the New York Studio School in the 1970s, where she was mentored by influential artists including Mercedes Matter and Joan Mitchell, Pensato challenged the school's strict figurative life drawing practice and painted directly from cardboard cut - outs, dolls and photographs as a replacement for the traditional fruit of still lifes.

Yet out of this denial of every traditional semiotic and aesthetic component of the medium grew a brilliant high - quality painting» — Dietmar Elger Painted in 1973, Rot - Blau - Gelb (Red - Blue - Yellow) is situated at the dawn of Gerhard Richter's abstract practice, probing the liminal threshold between reality and representation that lies at the heart of his oeuvre.

In an essay, Lowery Stokes Sims describes his practice thus: «Andrews's use of collage came out of that fact that he found oil painting «too academic» and imbued with more «sophisticated» associations.

Her paintings offer a heavy dose of London School psychologizing in the vein of Lucian Freud and Paula Rego and some of the gross - out tactics practiced by artists like Jenny Saville and Cecily Brown.

These flimsy, boldly domestic inventions sneak up on the heritage of artists such as Vladimir Tatlin, Barnett Newman and Morris Louis, and set the stage for Dolla's subsequent practice of repurposing everyday items to make raids into (and out of) abstract painting.

• Particularly effective in roofing, repairing, re-roofing and insulating pre-installed roofs for commercial projects in a timely, organized and team oriented manner • Specialized expertise in EPDM, TPO, PVC and shingling • Skilled in carrying out maintenance and repair of mechanical, electrical and other physical structures • Well - versed in painting of structures, performing carpentry work, repairing plumbing fixtures and woodwork • Excellent physical stamina, ability to climb a ladder, bend, stoop and work in confined spaces • Special talent for metal roofing construction including flashing, wall panels, fascia and soffit • Apt at using various tools needed for cutting hammering and fastening roofing materials • Track record of completing projects in strict accordance with job specifications, project layout and applicable safety guidelines • Profound skills in installation of low sloped roof systems including TPO, BUR and bitumen • Proficient in carrying - out general roof repairs, exterior siding adjustments and HVAC installation repairs • Particularly effective in removal and installation of all types of commercial roof systems including slate, tile and asphalt • Well practiced in covering roofs with topping material including sheets, PVC and spray foam • Adept at utilizing manual and electric tools and maintaining the same in a functional order • Efficient in laying and adhering insulation with metal fasteners or binding adhesives • Expert in cutting stripes of flashing and fitting into angles formed by walls, vents and intersecting roof surfaces • Firsthand experience in carrying out regular preventive maintenance of pre-installed roofing systems • Substantial knowledge of various roofing systems and associated installation protocols • Familiar with OSHA workplace safety guidelines • Excellent listening skills with profound ability to follow verbal and written instructions to book • Great attention to detail with proven skills in interpreting and implementing given drawings and blueprints with accuracy • Strong numeracy skills, apt at generating accurate cost estimations for given projects

I would love to help out too, I take orders very well and am practiced in the painting of any surface white.