Sentences with phrase «painting in a dialogue»

The third Calder Gallery at Fondation Beyeler has its focus on Alexander Calder's first nonobjective paintings in dialogue with his...

The third Calder Gallery at Fondation Beyeler has its focus on Alexander Calder's first nonobjective paintings in dialogue with his sculptures from the 1930s.

Doomsday Boogie by Keltie Ferris includes two large - scale paintings in dialogue with a series of thin vertical paintings — physical realizations of the zips whose form originated in Barnett Newman's The Wild (1950).

The catalog contains a foreword by Dean Anthony Vidler that places Slutzky's paintings in dialogue with his seminal essay, Transparency: Literal and Phenonmenal, (written with Colin Rowe in 1955); an interview with Slutzky by Emmanuel J. Petit that discusses the painter's critical strategies of artistic production; an essay by Robert C. Morgan that examines Slutzky's conceptual position in the art historical tradition of Leon Battista Alberti and Josef Albers; and an essay by Robert Slutzky with Joan Ockman on metaphor in his work.

In 2010, on the occasion of Franz West's solo exhibition, Sirbiladze exhibited paintings in dialogue with sculptures by the Austrian artist.

ParisCONCRET, «Personal Space,» 3 - person exhibition, Paris, France 2008 Rocket Gallery, «Merger: New Minimal Painting in Dialogue With Contemporary Furniture Design,» group exhibition, London, U.K. PULSE New York Contemporary Art Fair, Artware Editions, Group Exhibition Reed Gallery, University of Cincinnati, «Weight of the World,» group exhibition 2007 Reynolds Gallery, one - person exhibition, exhibition essay by Stephen Westfall, Richmond, VA Lamar Dodd School of Art Main Gallery, University of Georgia, «Cowboy Magic,» one - person exhibition, exhibition essay by Saul Ostrow McCaig Welles and Rosenthal Gallery, Brooklyn, NY, «Wide Open,» group exhibition McDonough Museum of Art.

Not exact matches

The dialogue is deeply embarrassing and the plot — meandering around a meaningless love triangle, ignoring anything like humanity in its hasty sketches posing as characters, and painting all of it like the first two stanzas of any John Cougar Mellencamp song — likewise.

The recreations aren't particularly realistic (lots of painted backdrops and such) and the dialogue is poorly dubbed regardless of what language you watch it in (I chose English because that's apparently what the actors were using), but none of that really matters.

While punchy and full of giddy flourishes of dialogue, as ever with McDonagh it paints itself into a corner in the closing scenes where a convenient entrance stage - right in the second act is exploited.

After a promising start, buoyed by the prospect of Mitchum gumshoeing his way into uncharted Asian territories, Pollack stops to paint Kilmer in the finest possible strokes, and he does it all in dialogue.

Morgan's dialogue and the lush high - definition visuals based on the paintings of Hans Holbein lead one to believe that «The Other Boleyn Girl» will be classier than, in fact, it is.

The film — a character study about two road workers who bicker and banter with each other as they tediously paint road lines in a burned down Texas state park — is a notably weightier comedy than most Rudd vehicles (this isn't one), striking some beautiful, poignant notes along with the funny dialogue.

With painting, drawing, singing, and dance classes dwindling in public schools, Sarson hopes the half - hour special opens up a dialogue between administrators, policymakers, parents, and teachers about the importance of such activities and the potential consequences of raising generations of children that aren't encouraged to appreciate the arts or think outside the box.

Ongoing dialogue, the use of assessment as feedback, and the evaluation of instructional decisions and learning tactics used by students hinge on the picture of progress painted in the context of the intended learning outcomes.

While a critic of 1843 saw «a club, a people's bank or a phalanstery» in «this dream of the gardens of Academe,» and noted the unusual amalgamation of Horace's Odes and Plato's dialogues with the steamship and the telegraph, the expendability of these contemporary elements is revealed when L'Artiste announces that Papety, on the basis of critical advice, has replaced his steamboat with a Greek temple, «which,» remarks the anonymous critic, with unconscious irony, «is perhaps more ordinary but also more severe than socialism in painting.»

Finding that «painting has now essentially marked off its overall set of boundaries and is engaged in the task of elaboration and infilling,» Richard Kalina offers four possible categories to begin the critical dialogue anew.

Anna's new paintings feature the imagery and motifs that she has developed in dialogue with the darkly comic fiction of the Austrian writer Thomas Bernhard.

Talk: Huey Copeland and Michelle Kuo at Artists Space Part of the Artists Space «Dialogues» series, this event brings together Huey Copeland, associate professor of art history at Northwestern University, and Michelle Kuo, a curator of painting and sculpture at the Museum of Modern Art in New York and the former editor of Artforum.

A pair of exhibitions at Kavi Gupta gallery places the artist's paintings and sculptures in dialogue with arrangements of objects from his personal collections.

Presenting approximately 60 sculptures, paintings and works on paper in dialogue with one another, these shows highlight the varied formal, social and political concerns that informed the significant series — neither of which were actually named «Constellations» by the artists themselves.

The show, held at Laurent Delaye in June 2009, initiated a cross-referential dialogue starting with Robyn Denny's landmark, 1959 abstract painting «Place 3», which optimizes urban and visual popular culture.

At the far ends of the room, two mostly square paintings with a decided orange tendency are in dialogue, while the shorter axis is dominated by more vertical paintings with green as a unifying hue.

His latest works, inspired by the 17th century French painter Nicolas Poussin («I'm always in a dialogue with painting and its history,» he says), are on view at the Savannah College of Art Design Museum of Art, in Georgia, where W caught up with him.

In the still - life, Table and Skull, 2012, the objects take form creating a poetic dialogue between object and paint.

And that's the one thing that's always missing for me in abstract painting, that I don't have this kind of dialogue between something that can be, elements that can be wildly different and can be at war, in, or in extreme conflict.

Saccoccio dialogues with abstract painting, Abstract Expressionism in particular, finding her own way without becoming derivative.

The exhibition features a new series of Boo Saville's colour field paintings, which are shown in dialogue with a number of black and white canvases.

«Painterly Pasted Pictures» an exhibition of 20th century painters of collage curated by E. A. Carmean Jr. @ Freedman Art, New York, NY 2013 «Color & Edge» with Lauren Olitski Poster and Ann Walsh @ Sideshow Gallery, Brooklyn, NY 2012 «Extreme Possibilities: New Modernist Paradigms» The Painting Center, NYC, NY curated by Karen Wilkin 2009 «Direct Sculpture: A Dialogue in Polymers», Student Union Gallery, Univ. of Massachusetts Amherst, Amherst, MA 2006 «Greenberg in Syracuse; Then and Now», Company Gallery, ThINC, Syracuse NY 2005 «Studies in Abstraction: Lauren Olitski, Susan Roth, and Ann Walsh», curated by Wendy S. Evans, Student Union Gallery, Univ. of Massachusetts, Amherst, 2005 «Rural Artists / Urban Sensibilities», C. W. White Gallery, Portland ME 2003 «The Clement Greenberg Collection», Joe & Emily Lowe Gallery, Syracuse, NY 2003 «Clement Greenberg, A Critic's Collection», Portland Art Museum, Portland, Oregon 2001 «The Mirvish Teaching Collection», Agnes Ethrington Gallery, Queens University, Kingston, Ont.

These paintings often glow from within and seem almost alive, breathing, interacting with the viewer in silent dialogue, creating a sense of the sacred in the interaction, reminiscent of the I - Thou relationship described by renowned theologian Martin Buber.

Piri Halasz, From the Mayor's Doorstep http://www.pirihalasz.com/blog.htm?post=907117 Nancy Keefe Rhodes Exhibition Catalogue Limestone Art Gallery, 2010 Karen Wilkin «Extreme Possibilities: New Modernist Paradigms» The Painting Center 2009 Katherine Rushworth, «The Call of Canastota» Central New York Magazine, May / June 2009 Sonja Freidman, «Susan Roth» La Palabra Isrealita, Santiago, Chile 2009 Clement Greenberg, «Interview with Clement Greenberg, (reprinted from, Susan Roth, A Minotaur Production: video Reader's Digest Foundation, 1988)», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 J. R. Hughto «The Mirror Eye» documentary video 2005 Allen M. Jones «The Prescience of a Cranky Critic» L.A. Times 2004 Donald Kuspit, «A Critic's Collection», ArtNet, 2001 Karen Wilkin, «Clement Greenberg: a critical eye», Clement Greenberg, a critic's collection, Princeton Univ..

In the catalog for his 1989 - 90 Frankenthaler retrospective at the Modern Art Museum of Fort Worth, he cited the color washes, the dialogue between drawing and painting, the seemingly raw, unfinished look, and the «general theme of place» as characteristic of her work.

In dialogue with changing artistic practices over the past decade, Lerma explores various uses of materials for his paintings while considering the medium's relationship to history.

Karen Wilkin, «Greenberg and the Syracuse Artists», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Suzanne Shane, «Greenberg in Syracuse, Then And Now», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Clement Greenberg, «Interview with Clement Greenberg», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 Robert Morgan, Clement Greenberg, Late Writings, University of Minnesota Press 2003 Donald Kuspit, «A Critic's Collection», Artnet.com, August 3, 2001 Karen Wilkin; Bruce Guenther, Clement Greenberg A Critic's Collection, Princeton University Press 2001 «Recontre avec Darryl Hughto, L'mour de la matiere», Pratique Des Arts, no. 36 Fevrier - Mars 2001 Michael Ennis, «Long on Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1973

Earlier on, I was separating those two ideas in my mind and in this new dialogue with the work and coupled with the contemporary moment where I feel like my body is forcibly reinscribed back into the paintings; it just had to claim that space.

A clear example of the dialogue between the works in this collection comes from noting the visual and compositional connections between Dan Christensen's 1968 painting Loo - ee, Larry Poons» 1968 painting Brown Sound, and the Ronnie Landfield painting For William Blake, of 1968 - 1969.

And the earliest work in the exhibition, Vija Celmins's 1964 painting Heater, sets the glowing red center of an electric space heater amid a field of deep grays — reminding us of the constant, ever - shifting dialogue between hot and cool, color and shadow.

Calculation and emotion enter into a dialogue that both sensually seduces and intellectually stimulates the viewer through her deeply original style of painting in occasionally very large - format works.

Rachel Macarthur's four oil paintings on paper are informal, gestural, arriving - at - form in the process of paint application, and there is gesture and painterly dialogue in the three wonderful paintings by Karl Bielik.

This taut push and pull of anxiety and desire creates a dialogue with the viewer, as if each painting begins a thought that trails off in an ellipsis, inviting us into the work to complete the thought.

With this group of artists I'm looking at with the new figurative painting, there's more talent in New York than L.A.. It's the dialogue, the social networking of people seeing each other in person and talking and hanging out.

In this ten color silkscreen, artist Shahzia Sikander brings the traditional art of Indo - Persian miniature painting into dialogue with the art of the present day.

Performance is so crucial to that shift — the dialogue between Cindy Sherman and other artists in her circle like Longo or David Salle, who went to CalArts with all the dance and performance art and turned it into paintings.

Over the past 17 years, Shahzia Sikander has worked within the tradition of Indo - Persian miniature painting — creating a dialogue with a traditional form of art while engaging in a transformative task.

Firstly, it presents the visual artist through a selection from two of his outstanding bodies of work: those from the late 1990s related to the character Mr DOB and the concept of «Superflat», which placed him within the legacy of Pop art but with an exceptionally original artistic language, and works from recent years in which Murakami has developed an intelligent personal dialogue with Japanese historical paintings.

I make sculptures and paintings which evolve in dialogue with the films and performances I make.

In «Canonical», the lively, ongoing dialogue Moyer has had with abstract painting feels absorbed and integrated; exuberant shout - outs to Georgia O «Keefe, Stuart Davis, Frank Stella and Elizabeth Murray give the work a fresh sense of expansiveness and assurance.

Much like an epic motion picture, my paintings attempt to bring about a dialogue in sensitivity, which will evoke feelings of the spiritual at work.

While continuing this dialogue with the history of aesthetics, Paintings represents a shift in McElheny's work towards a focus on the history of painting, and proposes that there is ongoing potential to be found in the utopian and revolutionary desires that gave rise to abstract painting at the beginning of the twentieth century.

(Decades later, in 1964, his continued dialogue with Matisse would culminate in a life - altering trip to Leningrad, where Diebenkorn viewed several of Matisse's greatest paintings at the State Hermitage Museum.

Salad Days, Journal Gallery, Brooklyn, NY De-Nature, Jolie Laide Gallery, Philadelphia, PA In Dialogue, Four Generations of Painting, curated by Peter Makebish, Anonymous Gallery, New York, NY