Sentences with phrase «painting as an object rather»

Since the late 1960s Ron Gorchov has explored the possibilities of painting as an object rather than as representation.

His work as an artist and an educator encouraged many in his own generation and future generations to consider paintings as objects rather than mediums or intermediaries to transcendent experiences, and assisted late 20th Century Modernism in its quest to stay inventive and free.

Many paintings hovered close to sculpture, drawing attention to the idea of a painting as an object rather than an illusionistic scene.

Aided with his broad, gestural brushstrokes, vivid palette of contrasting colors which helped to emphasize the rectangular shape, Hodgkin defined painting as an object rather than a painted surface.

Since the late 1950s, Ron Gorchov (born 1930) has been a stalwart advocate of the possibilities of paintings as objects rather than as representations.

Not exact matches

He recalls Minimalism's talk of art as object, with a geometry determined by its edges, only here the hard edges fall within the painting rather than along the borders of stretched canvas.

What / Why: «We treat desire as a problem to be solved, address what desire is for and focus on that something and how to acquire it rather than on the nature and the sensation of desire, though often it is the distance between us and the object of desire that fills the space in between with the blue of longing. - Rebecca Solnit GRIN is pleased to announce Pools of Fir, a solo exhibition of new painting and photography by Brooklyn based artist Caitlin MacBride.»

For him, silence was a landscape of unintentional sounds experienced between intentional sounds; as such, it was absolutely substantive, inseparable from and interdependent with sound.22 By extension, we might expand our view of the White Paintings, considering them not as inert screens waiting to be activated by life's subtle projections but rather as provocative agents of activity and profoundly physical objects that link our actions and perceptions, making us aware of the same perceptual interdependency that was central to silence for Cage.

Rather than serving solely as sources for paintings or pastels, these sculptures were independent objects, what the artist called essais — «trials» or «experiments.»

These sewn sutures further accentuate the paintings as physical, constructed objects, rather than flattened, two - dimensional images.

CA: The way you compare painting and dance makes me think of course of the often - quoted description of the Abstract Expressionists by Harold Rosenberg, «At a certain moment the canvas began to appear to one American painter after another as an arena in which to act — rather than a space in which to reproduce, redesign, analyze or «express» an object, actual or imagined.

The painting was understood as an object, rather than the surface recording the soul and emotions of the author.

Rather than simply stretching a few old rags (or floor tarps, as many painters have done), however, Wayne painstakingly creates objects that reference the paint - soaked cloths.

These sewn sutures further accentuate the paintings as physical, constructed objects, rather than attened, two - dimensional images.

Crowner is also interested in a painting's potential to function as an environment or performative setting rather than a discrete object on a wall, frequently juxtaposing her canvas works with interventions to the floors and walls of a gallery.

While his first shaped canvases were determined by the silhouette of a single depicted object, as in the Smoker series, later works such as Nude with Lamp are shaped according to their own logic, rather than that of the painted image, utilizing the blank space of the bare wall behind.

The exhibition, curated by Anthony Huberman, brings together roughly 100 sculptures, photographs, videos, paintings, and site - specific installations to explore technology as a group of machines, objects, devices, systems and infrastructure, rather than a local industry.

In her work de la Cruz uses the painting and its components as a sculptural object rather than a two - dimensional representation.

Referring to works based on «the supremacy of pure artistic feeling» rather than on visual depiction of objects, it favours basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colours.

The paintings were particularly discouraging, since they were scale-less and utterly mechanical; clearly we were meant to recognize them as indicators of ideas rather than consider them as objects with intrinsic expressive properties.

The artists do not aim to create an original; rather they follow in the tradition of Marcel Duchamp, who famously designated ordinary mass - produced objects as «Readymade» works of art, and Jasper Johns, who, in the late 1950s, chose to paint images «the mind already knows,» such as targets and the American flag.

Curiously, as much as Reinhardt argued for a morphological history of objects, his writing expands (rather than contracts) his paintings into a nexus of activities, inquiries, and philosophies.

While his first shaped canvases were determined by the silhouette of a single depicted object, as in the «Smoker» series, later works are shaped according to their own logic, rather than that of the painted image, utilizing the blank space of the bare wall behind.

She collects and assembles found objects, but rather than collaging them into combine paintings, she allows them to maintain their autonomy as objects.

Sinsel comments, «I feel like I'm making an object rather than a painting, almost as if I am tricking you with a piece of gingerbread in place of an image.»

On another, Johns» picture insists that we reconsider paintings as objects, rather than as mysterious windows or vessels.

I look at paintings primarily as objects rather than images.

My work is about reclaiming, re-visioning and re-presenting paintings that were created at a time when women were seen as objects rather than equal participants in the creative dialog.

Brooker's still life could also be seen as an abstract painting, whereas Baker's abstract painting with a literal shelf, might also be seen as a representation of objects on a table or even a landscape, a village green perhaps or a bowling green, rather than, abstractly, the colour green.