Sentences with phrase «painting practice today»

And the self - conscious use of paint by the younger artists in this room — the awareness that it is a culturally informed choice rather than a preordained tool — forms the foundation of much painting practice today.

Not exact matches

By painting a picture of how mobile reading is practiced today and by whom, it offers insights into how mobile technology can be leveraged to better facilitate reading in countries where literacy rates are low, an advance literacy and learning in underserved communities around the world.

Katz was first exposed to the notion of plein air painting at Skowhegan, which would prove pivotal in his development as a painter and remains a staple of his practices today.

Whilst taking Neel's work as a point of reference, the exhibition aims to open up possibilities for reading figuration and portraiture in contemporary painting, to assert the continued relevance of these modes of practice, and to re-consider Neel's work in relation to artists working today.

If painting as a practice is viewed with far more skepticism today, the sense of conversation evoked by the works on this wall — and in a smaller room off the main gallery, which is also filled with the art of Schloss's friends and acquaintances — rings eerily familiar.

Although perfectly relevant today — in that Havard is working now (he will be celebrating his 75th birthday on June 29th) and still very engaged in his artistic practice — Havard somehow turns his paintings into self - conscious relics.

A self - taught programming wunderkind and early adopter of today's virtual reality technology, Florida - born Rossin pairs her technical practice with painting — tethering her process to physical reality.

Pratt Institute's M.F.A. Painting and Drawing Curriculum offers students a broad but rigorous studio practice, highlighting students» individual development and focusing on an understanding of the significant concerns that constitute contemporary art today.

Similar in content to the performative work she created in the 1990s — which, today, is included in standard art history textbooks — her painterly practice is infused with an ironic eroticism, often time - based, and pointedly references the male - dominated history of Abstract Expressionism and action painting.

Both guests happen to be teachers, and they have much to say regarding the state of painting today, in light of local practice as well as the positive presence of modern masters «haunting» the art fair.

On the occasion of the exhibition, Karma will publish a comprehensive monograph, titled Draw A Family — the title of one of Schnabel's first paintings — which embraces the past forty years of Schnabel's influential practice and underlining his impact and guidance on painting today.

His practice remains multidisciplinary, and today includes graphic novels and works painted on the computer and printed as photographs.

Featuring the work of 21 artists from eight different countries, this exhibition will trace many different approaches to the practice of painting today.

[1] To that end, this exhibition explores the expanded field of painting through a wide range of works in a variety of media (i.e., installation, video, sculpture, and painting) that provide fertile territory for examining the legacy and meaning of painting and painterly practices in contemporary art today.

Many of these artists, like Susan Rothenberg and Julian Schnabel, would continue the practice through to the 21st century, making the Guston-esque play between abstraction and wonky depiction one of the few active threads of serious painting to survive today.

One big decision the curators agonized over was whether to dispense with the traditional museum practice of devoting separate galleries for drawings and prints; paintings and sculpture; photographs; and film and video — in part because they felt that artists today think and produce across different media.

At Skowhegan Katz was first exposed to plein - air painting, which would prove pivotal in his development as a painter and remains a staple of his practice today.

Among the earliest examples of Conceptual Art, it was with these seminal paintings that Baldessari reconsidered the practice of artmaking, questioned the concepts of authorship, originality, and aesthetic judgement, and first explored the narrative potential of imagery and the associative power of language that continues to inform his work today.

Featuring work from the 1980s to today, including wooden figures, pottery and newspapers that she has painted on, Himid's section of the Turner Prize exhibition at Hull's Ferens Gallery serves as an intimate window on to her intensely thoughtful practice.

The range and material practice of painting today has expanded greatly beyond traditional methods of oil on canvas.

The Painting Imperative also aims to become a platform for emerging critical voices, and to spread the word about the huge diversity of painting practice alivPainting Imperative also aims to become a platform for emerging critical voices, and to spread the word about the huge diversity of painting practice alivpainting practice alive today.

Through a moderated talk, audience members will gain a better understanding of what it takes to enter and graduate from American art universities and what it means to practice painting in today's art world inundated with moving images.

Salient works are presented that highlight the diversity evident in contemporary visual art practices today, including painting sculpture and mixed media installations.

Dunham has built his pictorial vocabulary over three decades of grappling with the past century's rich heritage of painterly possibilities (including abstraction, which he practiced exclusively for many years); today one can detect traces of Léger, Guston and the various twists and turns of New York painting in the 1980s, when he began making abstractions on wood veneer.

I Cheer a Dead Man's Sweetheart is both a celebration and an exploration of painting in Britain today, presenting the recent work of twenty - one living artists whose practices span six decades.

The display takes a fresh look at three of today's most exciting artists who have developed their own distinctive responses to the practice of painting.

At the moment the discussions deal more specifically with abstract painting and its references and the continued impact of collage in today's contemporary art practice.

2017 Builders, Circuit 12, Dallas, TX Fantastic Facade, LVL3, Chicago, IL Deconstructed, Terrault Contemporary, Baltimore, MD 2016 Helter Skelter, Launch F18, New York, NY Water Work, Soho House curated by Patrick Muhundro and Andrea Bergart, New York, NY Transaction, Knockdown Center curated by Elijah Wheat Showroom, Queens, NY Knife Hits, Spring / Break Art Show, New York, NY Faulted Valley Fog, Transmitter, Brooklyn, NY Painting Reassembled, SUNY Westchester Community College curated by Erika Mahr, Westchester, NY 2015 Surface Matters, Knockdown Center curated by Holly Shen and Sam Katz, Queens, NY Handmade Abstract, BRIC, Brooklyn, NY Object» hood, Lesley Heller Workspace curated by Inna Babaeva and Gelah Penn, New York, NY 2014 Ultra Deep Field, Rockford University Art Gallery, Rockford, IL Site Lab, Old Morton Hotel, Grand Rapids, MI BRIC Biennial, BRIC Arts in partnership with LIU University, Brooklyn, NY Insider Joke, Hockney Gallery, Royal College of Art, London, UK 2013 Rushgrove House, Rushgrove House in conjunction with the Royal College of Art, London, UK Limber: Spatial Painting Practices, Herbert Read Gallery, Canterbury UK and the Grandes Galleries de L'Erba, Rouen, France Material, Storefront Bushwick, curated by Liz Dimmitt, Brooklyn, NY Middle Zone, Projekt 722, curated by Corydon Cowansage, Brooklyn, NY No Longer Preseidents But Prophets, Delicious Spectacle, Washington DC Inside Voices, Parallel Art Space, Brooklyn, NY Contemporary Drawing Today, Fort Worth Drawing Center, Fort Worth, TX Paint Things, DeCordova Museum and Sculpture Park, Lincoln, MA 2012 Bleach Blue, FJORD Gallery, Philadelphia, PA Primary, Nudashank, Baltimore, MD Masculinisms, Garden Party / ARTS, Brooklyn, NY Rockford Midwestern Biennial, Rockford Art Museum, Rockford, IL Fakin It, Meyer Gallery, University of Cincinnati, OH 2011 Living Arrangements, PLUG Projects, Kansas City, MO Off the Wall, Visceglia Gallery at Caldwell College, Caldwell, NJ Small Crowd, Mixed Greens, New York, NY Out of Practice, Art Blog Art Blog curated by Nudashank, New York, NY RISD Graduate Thesis Exhibition, Rhode Island Convention Center, Providence, RI New Insights, Art Chicago with NEXT cuarted by Suzanne Ghetz, Renaissance Society, Chicago, IL 2010 Interriuer / Exterieur, Dubois Galerie, Pont - Aven School of Contemporary Art, France Boston Young Contemporaries, 808 Gallery, Boston University Totemic, The Gelman Gallery, RISD Museum, Providence, RI

Her perennially expanding reputation was widely established during the 1980s, when her work engaged formal aspects of painting as well as subject matter that remain central to her practice today.

They argue that the practice of painting today is an anachronism.

Characterized by simultaneous attention to surface, image, color and space, his paintings create new paradigms for the meaning of painting that reflect upon the fundamental questions concerning the practice today: authenticity, meaning, hierarchy and context.

Today we are experiencing a renaissance in this mode of artistic expression, due, in large part, to the National College of Arts in Lahore, Pakistan (NCA), which since the 1980s has taught this traditional practice of wasli paper - and brush - making techniques, paint mixing, narrative style, and iconography.

Integral to Jutta Koether's practice is the consideration of how to make painting relevant in the environment of today's art world.

WHEN IT COMES to contemporary art, West Berlin is today perhaps best - known for its hefty, expressionist painting, chock - full of sex, violence and rabbit - punch brushwork — a thriving practice, it seems, despite the decline of that sort of painting most everywhere else.

The way Yun - Fei Ji takes on the thousand - year - old practice of Chinese scroll painting to present the gritty reality of life in China today parallels our Asian art program.»

Popova's practice negotiates physical, spatial and economical articulations of painting today.

Salonen's practice explores what it means to be alive today and the way paint relates to the body.

The diversity of meanings and practices signified by painting today can encompass the eclecticism associated with net - surfing and the philosophical naming as «painting» of artworks that manifest no trace of paint.

While the simplicity of the Minimalist style was less popular by the 1980s, its influence can still be felt in art practice today, through the increased awareness of the «object» nature of painting, the use of geometry and grids, and an awareness of the artwork's relationship to its surrounding space.

This exhibition focuses on Wilding's forty - year studio practice, spanning collage, painting and various works on paper; a pulpy pastiche of color and gesture that anchors the roots of many LA feminist art collectives thriving today.

(New York, USA) Featuring nearly 50 works including installations, mixed - media works, paintings, photographs, sculptures, videos, and works on paper, «Under the Same Sun» surveys the most significant contemporary art practices in Latin America today.

Alÿs is one of the most important contemporary artists working today, with a practice that embraces multiple media, spanning painting, sculpture, photography, and film.

The complex, internecine role of community in defining artistic practice speaks to larger issues around the critical viability of figurative painting today.

She put in many hours of practice throughout her childhood and continues learning things in each painting she produces today.

From recent paintings embracing more traditional definitions of abstraction to multimedia works that challenge such notions, Outside the Lines showcases the Museum's commitment to chronicling shifts in contemporary art practices by presenting some of the most compelling work being made today and revisiting the historical foundations to which they speak.