Sentences with phrase «paint language into»

Not exact matches

We'll explore ways to introduce the language of color into the early grades curricula as you work on seasonal themes, curriculum inspirations, color dialogues, painting techniques, and the important practical work of set up and clean up with children.

Into painting, poetry, and languages.

According to Dr. Matthew Lynch, «Instead of treating the arts like a separate, distant relative to other classroom endeavors, (arts integration) programs integrate musical instruments, painting, dancing, drawing, singing and more into traditional subjects like science, math and language.»

By the time death squads are cruising the streets and babies are being raffled for charity, Samson's dry, plain language has tricked us into accepting her reality, painting a picture of the modern American hellscape where we're only too eager to put our birthright on the auction block to make a quick buck.

Bailey admits, «[A] narrative would have to be completely assimilated into the formal language of painting before I could use it in a way that would allow me the artistic freedom, honesty, and authority I need.»

Curated by Paul Schimmel, the show charts Guston's progress as he played with Color Field painting, moved into grid - like abstractions, and came gradually closer to figuration, combining the visual languages of Abstract Expressionism and Minimalism.

This attention to compositional structure is what separated him from his AbEx colleagues... Opper somehow transcended the mythology of the AbEx period and almost clandestinely slipped into the more formalist designs of color field painting, while holding to a visual language that was both his own and an echo of Bonnard.»

Tyler's process uses these same digital techniques and incorporates them into previous painting languages, not an easy feat.

Thus, again, if the works can't be incorporated or tamed into discourse of gender representation, nor to the terms of the new critical language of gender, racial identity, national identity politics, they also can't be reduced to the purely formal terms of the earlier discourse that had characterized painting from the late 1940s to the 1970s.

He aims to bring painting into conflict on several fronts at the same time — with its own history, with its clichés, and with the ubiquitous power of the pictorial languages of advertising and pop.

Szyszlo's paintings distill vast areas of culture, European and American, modern and ancient, into a visual language that is his own.

The opportunity to develop additional programming as the result of the Tooker loan allows PAFA to pursue a symposium on a group of artists, including Peter Blume, George Tooker, Ivan Albright, and other Americans who used a realist method to invent their own worlds by transforming the symbolic language of Old Master painting into a contemporary idiom.

My work relates to Cubists and Futurists paintings — in which the natural world is translated into a stark pictorial language of shapes, lines and angles.

I think that Laura Owens might be the caposcuola — although David Salle has been doing it too — for the way people are assimilating digital languages into painting.

Whether in his paintings or his installations, his formal world has always transformed the condition of contemporary society, concentrating a chaotic and constantly shifting modern china into a dynamic artistic language.

The tactic Proust deploys is a succession of extraordinarily close readings of the paintings, in language so luminous that the text easily embodies the series» title, ekphrasis, or the translation of visual art into poetry, often through objective description.

March saw his landmark debut with Nosei: Jeffrey Deitch praised his «ability to merge his absorption of imagery from the streets, the newspapers and TV with the spiritualism of his Haitian heritage, injecting both into a marvellously intuitive understanding of the language of modern painting» (J. Deitch, quoted in Jean - Michel Basquiat, Tony Shafrazi Gallery, New York, 1999, p. 326).

Lovelace, who will be showing paintings he's made from 1994 to 2016, captures the life of the inner city from memory and «inserts people of color into the language of American painting» through a style that's been called both childlike and Hopper-esque.

Influenced equally by the history of painting as by the pulp imagery of pop - culture, Trenton Doyle Hancock transforms traditionally formal decisions — such as the use of color, language and pattern — into opportunities...

Dark, ominous forms began to crowd his paintings, coalescing into what would become a new language that consumed his practice over the next ten years.

Taylorʼs work continues to delve into and expand upon the language of portraiture and painting, while also pointing to the social and political issues affecting African Americans today.

Known for employing a language of expressive landscapes and figures painted in hot, violent tones, Thompson experienced painting as a liberating catharsis that allowed him to pour his soul onto canvas, weaving figures and landscapes into a tapestry of color.

In Twisted Figures, his third solo show at 532 Gallery Thomas Jaeckel, Hughes's latest series of acrylic paintings pushes this language into a new phase in which the shapes on the canvases continue to self - confidently assert their own presence, yet begin to move beyond an earlier, more matter - of - fact reliance on organic and visceral associations.

Landscape imagery is the visual language she uses to explore her interest in what paint does when it is observantly and succinctly organized into a picture.

He refers to the past perhaps in a subversive manner and incorporates a new and invigorating language into painting and sculpture.

Following the developments of Cubist and Futurist painting — in which the natural world was translated into a stark pictorial language of shapes, lines, and angles — Russia was one of the primary breeding grounds of pure abstraction, with Wassily Kandinsky doing much to popularize geometric art before gravitating to the gestural camp in later years.

Join 2018 PMA Biennial artist Elise Ansel to examine how she develops Old Master imagery and Renaissance painting techniques into a contemporary pictorial language.

Ten years ago he was approached by Search Press who invited him to write «Painting in Oils» which went on to be translated into 16 languages and become a best seller.

«What Bhavsar's paintings achieve is a remarkable intimacy that leads us into the present fusion of language, technology, and the transmission of form.»

Influenced by the history of painting, especially Abstract Expressionism, Hancock transforms traditionally formal decisions — such as the use of color, language, and pattern — into opportunities to create new characters, develop sub-plots, and convey symbolic meaning.

Kidner's translation of the dialogue between order and indeterminacy into a visual language has meant that his work - though founded in a rigorous intellectual approach to colour and form - also resonates emotionally: «Unless you read a painting as a feeling,» he has said, «then you don't get anything at all».

When he returned to New York in the 1950s, much of the work Kelly made, at first, as he found his way more fully into his own language, was in the form not of paintings but of drawings — works on paper in ink, pencil and gouache, which he created as a way of working out where he wanted to go on a larger scale.

In her first solo exhibition at the gallery, Commito will show paintings that, while abstract, also look beyond their own geometric formal language to the world outside them — conveying the artist's interest in architectural space, the materiality of our everyday surroundings, and the productive process by which impressions and recollections are converted into images.

Overture will present over 25 new works exploring philosophical and theoretical ideas surrounding global displacement and conflict, demonstrating Khan's profound interrogation into language and meaning over a wide array of media — painting, sculpture, photography, works on paper, and, for the first time in his career, works on glass.

An A bleeds into an M bleeds into a C. Pendleton's interest in language is not new; his Black Dada paintings, inspired by Amiri Baraka's (then LeRoi Jones) controversial poem «Black Dada Nihilismus,» embrace the endless potential of blackness, chaos, opacity.

Harrison's works expand the languages of contemporary painting and sculpture, drawing into play parts of the culture which are forgotten, buried, discarded or disregarded.

Perhaps it's something like Pensato's paintings — animal and «human» personages anthropomorphized into the barest semblances of themselves, erased (to use Pensato's own language), and re-represented, brutally, in the grammar of «high» art, with the painterly strokes and complex surfaces of abstract expressionism.

And even though we just used a bunch of words that mean there are big paintings hanging at Regen Projects this month in Lari Pittman's «From A Late Western Impaerium,» there are also highly detailed drawings and paintings that also suck you into their mysterious language and context.

COMMUNITY BASED & COLLABORATIVE SOCIAL JUSTICE WORK WITH ONAMAN COLLECTIVE Youth Art Mural Project: John F. Ross Secondary School, Guelph, ON (May 2016) Anishinaabemowin Wiigwaam: Ojibway Immersion Language House (Mar & Oct 2015, Mar 2016) Words from the Land: Youth & Elders art retreat (Mar 2016) Youth Run for the Language (Oct 2015) The Painted Hand: Gathering to Feast Our Historic Alliances (Sept 2015) Reconciliation, Resurgence & Storytelling with Maria Campbell (Aug 2015) Canoe Building with Youth: Chippewas of the Thames (July / Aug 2015) Harvesting ochre & making paint (June 2015) Research with Elders on traditional knowledge and the language in Ontario & Saskatchewan (June & Aug 2015) Moosehide Tanning (April 2015) The Sacred Fisher Story: The Youth Mural Project (April 2015) Anishinaabemowin Wiigwaam: Ojibway Immersion Language House (Mar 2015) Onaman Kendaagozid: Gathering about Sacred Paint (Feb 2015) Research into traditional Indigenous tattoos and face / body ochre paint (on - going) Collaborative creation of art pieces by Isaac Murdoch and Christi Belcourt (on - going)

Paintings such as Impressions d'Amérique 2 (2013), Martian Cubism (2013) and 0,10 (2011) filter cowboy images through a language of European formalism that is alien to the Western landscape into which it is dislocated.

It's fascinating to see the diversity in Foulkes's complex formal language from his signature rag technique using rags to apply and subtract paint to the canvas in a way that anthropomorphizes the rock paintings into denim jean paintings, to the use of drips on the canvases imitating stains of a photograph, or over painting on top of collaged postcards.

Uighur, Arabic, and Hindu language are incorporated into his paintings, representing a reflection of his upbringing in China's multilingual frontier region Xinjiang and his fascination with the spoken and written word.

Each painting showcases Mitchell's mature artistic style that, over a prolific period of three decades, had fully developed into a unique personal language of colour, line and form.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezePaintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings reimagine the still life as a chance freeze - frame.

«In these works, the artists call into question how the use of fibers - based media - including embroidery, silk thread, bells, blankets, shoelaces and discarded clothing, among others - informs the reading of and expands the language of painting.»

Olson comments: «I do think that painting is a language, as all marks are referential, but that's just one element that comes into play for me when making a painting.

Lydia Gifford's artistic research is an enquiry of the language and possibilities of painting, of painterly thought, which are subsequently allocated and transposed by means of subtle actions, gestures, ideas and processes into a physical space.

In Pritchard's works another intimacy of scale takes place, bending the language of abstract painting into a most personal and singular expression.

Using the language of abstract painting and the modernist grid, the pieces reflect into an illusionistic space without fully relinquishing their sense of physicality.

But it is unstable — thrillingly, potently unstable — in its acceptance of contradictory visual languages and its ability to orchestrate those languages into a pictorially and discursively vibrant way of painting the human condition.