Sentences with phrase «painting as a phenomenon»

As with Pollock, in her strongest work we experience painting as phenomenon: the spectacle of colors flowing and comingling, as absolute and beyond the human hand as cloud formations, oceanic currents.

Not exact matches

The process of disruption is often painted as a straightforward phenomenon.

The light in the paintings acts as phenomenon, and at the same time the abstract color creates an experience of light and place.

Perhaps more than any other female artist, she succeeded in transcribing such natural phenomena as light, water, and plants into atmospherically charged paintings, whilst simultaneously maintaining a totally autonomous abstraction.

Perhaps the mannerism found in Varejão's new tropical / orientalist banana - leaf painting series can be seen as being part of a negative phenomena found in many international galleries based in Hong Kong and China, where «the Orient,» as a subject, seems to be enforced on artists debuting a solo exhibition at these spaces.

In a disconcerting way, he remains relevant by being, like so many younger artists today, not necessarily a painter per se, but an artist who uses painting coincidentally, as one of many other potential mediums available at any time; a phenomenon which in itself would merit its own investigation.

These large, abstract, and lush pieces reference color field painting as well as natural and interstellar phenomena like hoarfrost, wormholes, and the moon.

Robert Storr goes further, building an analysis of these works as almost geological phenomena in which the various strata of paint conspire to form masses and crevices of color that bleed into one another, (R. Storr, «LA Push - Pull / Po - Mo - Stop - Go», in Mark Grotjahn, exh.

Her painting seeks an intersection between perception and abstraction using the phenomenon of light, space, and form as personal metaphor.

This does not happen in a vacuum of course but painting is a unique aesthetic situation where color can exist as color, as visible phenomenon of light and surface.

In the early 1980s, when he sprang to fame as part of the New Image Painting phenomenon (with Schnabel...

Today, he works obsessively, over and over, in exploring abstract painting as a physical phenomenon.

This new emphasis encouraged viewers to attend to phenomena ordinarily ignored when looking at a painting, such as the play of shadows across its surface.

The play of light on water as a living phenomenon, scintillating, volatile, ever - changing — this is evoked as nowhere else in a painting by Bridget Riley.

It's a dirty job, but someone has to jump - start serious reconsideration of that dark, amorphous phenomenon known as American painting in the 1980s — a veritable pit of macho swagger, nostalgia and money.

Paintings in «The Boundless» depict ephemeral phenomena such as atmosphere, fluid, and smoke as symbols of the uncontainable vastness of the human imagination.

The artist's first major exhibition in the region features ten large - scale paintings as well as smaller canvases, wherein according to the artist, «the architecture of place meets the architecture of the sky», revealing phenomena of paint and light, in an oeuvre teetering between a call for salvation and a silent abyss...

We know a few things: he's 28, he makes graffiti - indebted AbEx - plus - text - ish paintings that sometimes arise from boisterous studio performances, his family moved to London from La Paila (Colombia) when he was 10, he often collaborates with his relatives, and he's the paradigmatic market phenomenon of our time, attracting ravenous financially minded collectors to view his canvases as magical money - expanders.

By some fortuitous coincidence just a few steps separate «Joan Mitchell: The Last Paintings» at Cheim & Read from «Matta: A Centennial Celebration» at Pace Gallery and each show explosively refutes any notion of youthfulness being the province of the young while giving new life to the phenomenon known as «old age style» — used to distinguish formal characteristic of late works by Titian, Rembrandt, or Cézanne, where the artist just wants to get to the heart of the matter and sloughs off all the fine finish he had needed to impress his audience in earlier years.

In the larger paintings, Light under Two Blue Earth with Catapult and Blues 2 Untitled, this phenomenon, which Frecon describes as «a tension of double blues,» substitutes almost entirely for the presence of structurally differentiated forms.

His drawings, texts, and painted works explore vocabularies, codes, and meaning as phenomenon.

Her paintings attempt to convey this phenomenon through an iconography that embeds images of graphs and statistics showing data related to urban growth as well as actual maps of cities, thereby creating an aesthetic that is harmonic and delicate, in contrast with the cold images of standard graphs.

The collage - like paintings from the 1960s, which clearly reflect Rosenquist's background as a painter of enormous billboards on Times Square, will be shown along with biographically motivated paintings from the 1970s and interpretations of cosmic phenomena in his later large - scale paintings.

In today's China, left - behind children and elder phenomenon are is more common, away from home young people go out to make a living, the old man lacks companionship, dissatisfaction with the society, one voice, such as warm in winter, the scene about the elder alone sitting on the roadside, was painted for 10 years.

Drawing on avian physiology, rituals of mating and territorial display, and the social phenomenon of flocking, she has assembled a fantastical procession of species all fashioned from modest materials such as clay, wire, and painted canvas.

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.

This social phenomenon rattled the old guard as young men of three decades, or in Jean - Michel Basquiat's case two, were selling fresh paint for hundreds of thousands of dollars via the powerful Mary Boone gallery and others.

The resulting energy flows, unbridled, in and out of her painting, and is linked by Mark Stevens in his essay «Essential Hesitations» to such contrasting phenomena as cave painting, Alberto Giacometti, and Philip Guston.

Just as these are compressed momentous experiences, verbally catching the beauty and simplicity of everyday matters and phenomena; my paintings would provide some visual equivalent.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

Color becomes a decorative phenomenon in itself, if no longer «something merely decorative to form,» as Delaunay said it is in representational painting.

What Kenneth Noland did was to drop one of Gottlieb's «orbs» down to centre on one of his «splashes», to create a centralised image, whilst retaining the surrounding areas of unpainted cotton - duck canvas, which has the effect of emphasising the literalness of the painting as object, within which an optical phenomenon is set.

At that point, I understood Abstract Expressionism, painting, and the work of people like David Smith as a strictly historical phenomenon.

The title of this volume, The Progress of Love, refers to a group of 18th - century paintings by Jean - Honoré Fragonard, who represented love as a contemporary phenomenon rather than in the guise of allegory or fiction.

Through drawing, painting and sound works, his current show Grav • i • ty, on view at MOCA GA through February 14, isolates the phenomenon of saggin (slang for wearing pants below the belt line) as a deeply politicized fashion statement in black youth.

The hypotheticals in the paintings can act as surrogates or narratives for phenomena that I feel are happening in culture.

He often spends 12 to 15 hours a day exploring the Phenomenon - of - the - Line in his Systemic Lineation Painting Series, identifying the practice as «the most satisfactory endeavor.»

Previously a student of physics, linguistics and aesthetics, he has long been interested in how natural phenomena such as light, rain and wind might impact his abstract paintings and sculptures.

As Richard Dorment says in his review: «The phenomenon started in 1840 when John Ruskin, who was raised in the evangelical church, told readers of Modern Painters that Turner's pictures should be read as moral allegories — to which Turner replied that the critic «sees more in my pictures than I ever painted.&raquAs Richard Dorment says in his review: «The phenomenon started in 1840 when John Ruskin, who was raised in the evangelical church, told readers of Modern Painters that Turner's pictures should be read as moral allegories — to which Turner replied that the critic «sees more in my pictures than I ever painted.&raquas moral allegories — to which Turner replied that the critic «sees more in my pictures than I ever painted.»

Taking as starting points two groups of works, the «Lacquer Paintings» and the «Hardware Store Collages» (1994 --RRB-, Yang attempts to implant a hybrid or an oscillating view between seemingly different phenomena in «Quasi-ESP».

Several years ago at NYC's Nathalie Karg, Provosty showed a series of monochrome paintings she activated with sound and movement as a way of considering the phenomenon of «inaudible sound:» sounds we respond to, but don't actually realize we're hearing.

When you go on to see it recurring in perhaps a small landscape by the 19th - century David Cox, for example, you recognise the phenomenon as something picked up from Titian: all painting is in a sense hand - me - down.

Callum Innes» work is an attempt to embody and reflect the arbitrary and enduring mechanisms of natural phenomena — such as decay, memory and growth — by approximating their processes in paint.

With their naturally - based colours, these works reflect Innes» continuing interest in natural phenomena as well as his desire to test the bounds of painting.

HLD - 2161 The Beat Generation One semester: 3 humanities and sciences credits This course will explore the beat counterculture as a post-World War II American phenomenon, a literary correlative to abstract expressionist painting and to bebop music, auguring the «era» of sex, drugs and rock & roll to follow.

In 1955, for the exhibition «Mouvements» at the Denise René gallery in Paris, Victor Vasarely and Pontus Hulten promoted in their «Yellow manifesto» some new kinetic expressions based on optical and luminous phenomenon as well as painting illusionism.

Michael Sastre's paintings capture the tense duality of the landscape as a sublime natural phenomenon and as a remote, inaccessible site for illicit activities.

Coinciding with the rise of modern branding and the onset of the information age, artists» focus on commodities and consumerism began as satire but came to be much more complex: commodities and associated phenomena, such as advertising, now served as vessels for ideas, politics, and personal relationships in «brand - new» types of painting, sculpture, photography, installation, and performance.

The works featured in Lies about Painting do not necessarily have these issues as their main focus, but they can nevertheless be interpreted, in some sense, as deconstructions of the phenomenon of paintingPainting do not necessarily have these issues as their main focus, but they can nevertheless be interpreted, in some sense, as deconstructions of the phenomenon of paintingpainting itself.

These distinctive shapes in a Pollock might appear to be the work of tightly controlled wrist - action, but scientists who study Fluid Dynamics say it is the result of a physical phenomenon (noticed by the artist in his experiments and then exploited in subsequent works) where the paint naturally forms coils as it lands.