Sentences with phrase «own pictorial space»

Current studies include the structure of pictorial space throughout the history of art, particularly the dramatic emergence of geometric perspective in the 15th century.

Surface Tension: Pictorial Space in 20th - Century Art traces this transformation, from early modernist works influenced by Cubism through the age of Abstract Expressionism.

In the late 1930s, in a series of widely attended lectures in Greenwich Village, Hofmann demonstrated how to «push a plane in the surface or to pull it from the surface» to create pictorial space.

- The incorporation in the pictorial space of uncertainty and surprise, instability and displacement.

All is structured within vast spirals in three dimensions pulling us rhythmically around a very convincing pictorial space.

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.

For both artists, pictorial space is accompanied by a strongly defined picture plane.

I might ask participants in one of my workshops to make a bright painting that celebrates the color gray in order to make them think more deeply about the variety of ways gray can function in pictorial space.»

While each adjustment is undertaken to orchestrate and tighten the relation of each pictorial unit to every other pictorial unit, to secure formally the integrity of each painting as a whole, the overall effect of the process is also to enliven the space, to acknowledge its flatness while simultaneously allowing it visually to twist and warp and bend, to project and recede, to be positive and negative — and thus to explore and personalize what's become natural to pictorial space since Cezanne and Cubism radicalized it more than a century ago.

Painting in what is now considered a signature style characterized by flattened planes of color, shallow pictorial space, and lean, reductive but acutely descriptive lines, Katz sought to convey the appearance of things as they are both felt and perceived in the «present tense,» the now.

Lisa Sigal brings architecture and painting into dialogue by creating a series of physically inaccessible rooms that can only be viewed as pictorial spaces.

In Drawing for Sculpture the Size of a House (2001), on view at the Whitney, he intensified this photographic compression by blacking out a house from a snapshot using felt - tip pen, radically collapsing the pictorial space and blocking most of the scene from view.

His kaleidoscopic compositions of overlapping grids and patterns create complex pictorial spaces, and his use of transparent pigments allows the viewer to see, as the artist has said, «all the events that went into the making of the painting.»

«We must create pictorial space,» he declared to audiences of avid young artists and critics, including Arshile Gorky, Clement Greenberg, and Harold Rosenberg.

There is also the space of images, pictorial space, where figurative sculpture resided before the polemics of Minimalism.

They stare out of pictorial space into an unknown distance, with their detached gazes separated from the viewer's own perusal of them.

With dazzlingly fluid gestures, Willem de Kooning creates a roiling pictorial space filled with roaming bands of color created from a palette that gracefully fluctuates through a range of blues, yellows, whites, and grays.

Because the colors in a Fauve painting are of similar saturation or intensity, the pictorial space appears flatter, with objects seeming to be closer to the surface of the painting.

Challenging and re-inventing ideas about pictorial space, the paintings on view relate to Color Field painting and Op Art, and reflect Fangor's distinctive use of saturated color and blurred silhouettes to create striking abstract forms and mesmerizing optical illusions.

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

The result was a more abstract interlocking of shapes and a shallower pictorial space than he had previously employed.

The encounter between geographies, disciplines and histories at the core of Meppayil's work prompts what Benjamin H.D. Buchloh identifies as «a latent desire to leave behind the parameters of pictorial space and its supporting surfaces, reaching for an ultimate sublation of the painterly rectangle in a numinous architectural space.»

At the same time, her almost decorative technique of making human and animal figures components of formal composition, through the arrangement, or insertion, of color fields within the pictorial space, credits Kudo as an aspiring successor of the modernist formal painting championed by Matisse»

Nancy Olivier and Gary Petersen translate grid - based and geometric paradigms of modernist pictorial space to an architectural scale.

«In Kudo's painting, the expansion and arrangement of color areas within the pictorial space become the dominant means of communicating the picture's emotional content.

«Highway to Heaven is part of a series of works where I dissect the nature of pictorial space by attempting to translate it into three dimensions.

The artist's flawlessly rendered surfaces; use of stark lighting and awkward compression of pictorial space heightens the detachment of his subjects from lived experience and, as some writers have acknowledged, offers a reading of his work as a form of abstraction.

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.»

From the chambers at Knossos to the villas and municipal structures of Rome, from medieval and Renaissance ecclesiastical architecture to Baroque courts and palaces the mural was a primary vehicle for pictorial space, the wall the substrate of choice for public - scale allegorical figuration both secular and sacred.

She has continually shifted the terms of her practice, incorporating figuration, abstraction, digital techniques and gestural mark - making into compositions that confound expectations of pictorial space.

Combining three - dimensional elements within a two - dimensional pictorial space to create visually and conceptually loaded images, Muniz creates work that fosters a shift in visual perception as well as cultural preconceptions.

Working in both real and pictorial space simultaneously, the artist emphasizes the instability of what we know as reality and the potentiality in what lies beyond the limits of conditioned sight and thought.

However, the tufted image, trompe l'oeil illusion, and translucent ground already show an interest in what modernists used to call pictorial space.

For the catalog, Jeffrey Weiss describes the addition in formal terms, as «a complex play of color and value in pictorial space.»

Although, for example, Gobba, zoppa e collotorto, from the Cones and Pillars series (1985), directly references the impact of Caravaggio on his resolve to create and radiate outward an expanding pictorial space, it illustrates «cones», «posts» and «outward» — but not Caravaggio.

In the mural - size Shaking Out the Bed, figures, seen perhaps from the side, maybe lying down, reaching to the painting's right side to the dials there to adjust perspectival vantage point, appear from above, slip into different pictorial spaces, or try to get outside the frame.

One is Carrie Moyer, whose abstractions of overlapped biomorphic shapes toying with pictorial space make for a serene show - within - the - show.

His watercolors, gouache, and oil paintings not only explore and expand the conventions of still - life painting, but also illuminate the relationship between pictorial space and depicted objects.

medium to emphasize the slippage between painting, film, photography, pictorial space, and performative space.

The deeper the pictorial space, the closer it comes to shadow or surface.

One of the namesake founders of the legendary if short - lived BMPT collective — named for its constituent members Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni — Buren has since built his reputation on his instantly recognizable leitmotif that runs through his oeuvre: a set of vertical stripe, which serve to unite pictorial space with the surrounding architectural space, and meld composition with construction.

Through the use of materials such as nylon flocking, which is a material commonly found in wallpaper, sand, resin and acrylic paint, the highly physical surfaces create a sense of deep pictorial space.

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.

The combined elements create a pictorial space confounding ideas of ornamentation and desire, high and low forms, figure and ground.

A showcase for her extensive arsenal of techniques and ideas, her ambitious large - scale canvases create patchworks out of different manners of mark - making and toy inventively with questions of frame dynamics and figure / ground illusions, often within a remarkably shallow pictorial space.

While Pistoletto has typically relied on the mirror's reflective surface to seamlessly integrate pictorial space with the physical space of the viewer, the Scaffali paintings appear to complicate this relationship.

A majority of the works in the show are hard - edge geometric abstractions, many of their forms and their relation to pictorial space arrived at with the help of early computer programming and projection techniques.

Pintelon's approach to pictorial space is one that focuses on the primacy of color rather than on painterliness.

Pictorial space has been an issue that painters have wrestled with for centuries.

In my view this response is prompted by the way in which you present and transform the body as such: as an erotic, a geometrical, an architectural entity in a pictorial space.