Sentences with phrase «painting experience interested»

This workshop is open to artists with painting experience interested in improving their ability in traditional oil painting.

Not exact matches

It's an interesting experience because you aren't focused on one painting at a time, but you're constantly being distracted by another painting while trying to concentrate on just one.

Interesting to hear of your experience with Minwax Wipe - on Poly... just called around today to see who carries it in my area (eastern Ontario, Canada) Finding the one overall best topcoat has been the most difficult part of my furniture painting education!

BB: «The work of the eyes is done» is certainly an interesting quote to hear from an observational painter, as is the notion that images are «imprisoned within...» Applied to your paintings though, these notions speak to the kinds of interior spaces you paint, the rooms of your house at different times of day, for instance, or your color, which can be muted, but also evokes a rich vision of everyday experience.

DS: I really think that it's interesting to have a physical position in front of a painting because that's a different type of experience.

The book and DVD is aimed at those who already have some experience painting watercolours, although much of the content will also be of interest and value to beginners and more experienced artists alike.

He works primarily in painting and performance art, and is interested in art - making as a vehicle for philosophical exploration and mystical experience.

Donegan's interest in the lived experience of commercial culture continues in this series, which reflects her earlier videos, as well as her paintings and her recent clothing line.

The DVD and book is aimed at those who already have some experience painting watercolours, although much of the content will also be of interest and value to beginners and more experienced artists alike.

One of the more interesting phenomena that Kandel explains is that when viewing abstract paintings the brain uses what he calls a «top - down» mechanism to recruit personal experience, imagination, creativity, and responses to other works of art into the process.

Bobrow is not only interested in how these works relate to place, and particularly within this body of work a certain New York urbanism, but how the mesh - covered building is as real an experience as it was before being covered and how the mesh painting is as similarly real as it was in its original place.

The new paintings fuse, in Cranston's idiosyncratic way, her ongoing interest in color theory and how it functions within consumer culture vis - a-vis corporate marketing and branding strategies, as well as its relationship to personal and collective experience, with the aesthetics and history of high Modernist abstraction.

The first and last day underscores Furnas» interest in spectacle and the sublime, in time and its relation to making and viewing painting, and his on going exploration of painterly technique as a kind of hyper or vivid realism to communicate human experience.

Feasley is particularly interested in the sublime power of nature and several of the paintings included in this exhibition were inspired by transformational experiences.

Anyway, it was a very interesting lecture - and this is a great post, with beautiful paintings of Turner's, so much atmosphere and light - thank you for sharing your experience seeing them.

«Material Histories: Artists in Residence 2013 - 14» presents installations, paintings, works on paper and mixed media works by Beasley, Collins and Deville, three artists who «share an interest in exploring and contemplating the particular histories and experiences of families, regions and cultural groups, as well as their own lives.»

David's book is aimed at those who already have some experience painting watercolours, although much of the content will also be of interest and value to beginners and more experienced artists alike.

With fifty years of experience in the New York gallery world, his interests and expertise extend from established post-war artists through the most contemporary emerging careers and ranges through all media from painting, works on paper, sculpture and installation to photography and digital media.

This book is aimed at those who already have some experience painting watercolours, although much of the book will also be of interest and value to beginners and more experienced artists alike.

Qiao is most interested in contemporary art that relates to personal experience, but his collection is informative and comprehensive, including all media: painting, sculpture, installation, photography, video and so on.

In 1982 Peter determined to pursue his interests in music and painting, however after a bad experience with a gallery which reinforced his desire to have as complete control over the sales of his work as possible, he held his first one - man exhibition at the Guildhall in Derby in February 1983.

Other works in the exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.

However, not unlike a work of Robert Ryman, Juchtmans is interested in the viewer not only experiencing the monochrome as painting, but also as object.

The artist is interested in creating «environments» where the colour and light radiate and create a meditative and illuminating experience for the viewer, reminiscent of viewing a Rothko painting.

«My artistic practice is based in figurative oil painting and is motivated by my interest in human experience and behaviour.

Taken as a whole, his work defies a singular style, and in his drawings, paintings, and sculptures, Aldrich is able to move effortlessly between figuration, abstraction, and representation — often combining imagery variously inspired by people and places close to him, visual artists, writers, and musicians whom he finds interesting, and experiences drawn from his everyday life.

Like enlarged versions of his paintings within paintings, the more abstract works in New Plants combine Wood's interest in painting from direct experience with his fascination with the many forms and genres found throughout art history, deepening and extending his investigation of the language of painting.

Toronto - based artist Kim Dorland is driven equally by his fascination with the materiality of oil paint and his interest in exploring his own life experiences, creating both quietly reflective and boldly visceral sculptural paintings.

He explained: «These paintings reflect my interest in the way that the road delineates and controls how we experience landscape.

Wesselmann speaks of his family, childhood and education; his U.S. Army service; his early interest in art and drawing; the influence of humor; going to the Cooper Union School on the GI bill; artists who influenced him in his early career; experiences which changed him; early experiments with collage; his first awareness of pop art; collage technique; his affiliation with the Tanager Gallery; his early nudes; eroticism in his paintings; politics and art.

Rothenberg's paintings since the 1990s reflect her move from New York to New Mexico, her adoption of oil painting, and her new - found interest in using the memory of observed and experienced events as an armature for creating a painting.

Using a brace for support, Lenny taught himself to paint and began to produce complex hard - edge geometric abstractions, informed by his personal experience, but also reflecting the collective interests of his new Park Place friends.

«In all of my work, I'm interested in exploiting the tension between «observed» and «abstract,» and similarly, I enjoy playing with the expectation of reality by inventing where the viewer may not expect invention,» Cole explains, «My paintings are at once rooted in the unique experiences of my own life in Brooklyn, and in conversation with the larger history of American painting.

STATEMENT I create paintings without the aid of technology, yet I am interested in making works that are informed by and react to a culture defined by a digital experience.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

She creates paintings without the aid of technology, yet is interested in making works that are informed by and react to a culture defined by a digital experience.

Party is also interested in the power of paint to alter our perception of the built environment and, within a gallery context, how we experience art.

Here, he makes explicit his interest in the sheerly retinal experience of painting, as one's visual absorption of the image is essentially altered by a small amount of painted color.

I was interested in experiencing the contrast between the formal buildings and the contemplative garden, and spent some hours photographing and painting from there.

He is currently working on a new body of paintings that develop and extend the artist's interest in the simple gestalt experience of enculturated experience and memory.

William Monk is an artist with an acute interest in the way painting is experienced and, accordingly, the ways in which he as a painter can guide those experiences.

His interests in photography and watercolor painting began in design school, and have explored the built and natural environment experienced in his work and travels.

Artist statement I create paintings without the aid of technology, yet I am interested in making works that are informed by and react to a culture defined by a digital experience.

Usually the web of connections isn't so explicit, but they are always implicit, packed into the work itself; in Lisa Yuskavage's or Dana Schutz's or Carrie Moyer's paintings, you see all kinds of historical references (whether to Piero della Francesca or Ernst Kirchner or Jules Olitski), kinship with their contemporaries, and interest in a million other images and experiences that do not belong to painting.

In Fairfield Porter's career as art critic, he wrote an essay on Katz's painting, maintaining that Katz did not need to declare his interest in «reality,» nor did he «need to say that deepest reality is in visual experience, or in the paint medium as the medium for nature, or in communication, or emotion» because it was visually apparent in the work.

A transplant from New York, Susan Rothenberg produces paintings that reflect her move to an isolated home studio in New Mexico and her evolving interest in the memory of observed and experienced events.

Committed to the expressive and enduring language of painting, they share a deep interest in our contemporary experience refracted through technology and cultural media, with manifestly different outcomes in their work.

Newest work by Bonnie Maygarden ARTIST STATEMENT I create paintings without the aid of technology, yet I am interested in making works that are informed by and react to a culture defined by a digital experience.

Thus, out of his experience with gestural painting, the notion of art as a record of a performance by the artist (as illustrated by Hans Namuth in his photos of Jackson Pollock doing his action painting) led to Morris's interest in dance and choreography: an interest encouraged by his wife, the dancer and choreographer Simone Forti.

Since then, I have found a place to marry the worlds of literal and conceptual reality and so, in a sense, I'm reaching backwards, taking parts I liked in my earlier work and using the skills and interests that evolved over time and re-making what I have been always searching for in my work, to make each painting a unique, intimate environment that invites the viewer to experience and offer contemplation on a multi-faceted level.