Sentences with phrase «paintings about memory»

This body of work focuses on a range of subjects, but at its core is a suite of highly personal paintings about memory and loss.

Not exact matches

About me: my name is Judith Logan and I create painting and drawing based on my personal experiences in life, or snapshots I captures in my sketchbooks or commit to memory, all mixed with a healthy dose of my imagination.

There were gasps across the House as he said that 164 statements were significantly amended to remove critical comments about the police, that the police checked the criminal database for the deceased to impugn their memory, that the coroner checked all the deceased — even children — for their blood alcohol level, in an attempt to paint them as drunks.

Rome, Italy About Blog American plein air painter living in Italy since 2005 capturing lasting memories of Italy through sketching and painting the streets of Rome daily.

Stories We Tell explores the elusive nature of truth and memory, but at its core is a deeply personal film about how our narratives shape and define us as individuals and families, all interconnecting to paint a profound, funny and poignant picture of the larger human story.

The early years of Wolseley — How the company developed up to the First World War by Norman Painting / Homage to a Morris 8 — D.H. Smith relates his memories of a 1937 Morris 8 named «Cleopatra» / Amilcar anniversary — Brian Heath visited the Auvergne in company with other Amilcar enthusiasts on the occasion of the car's 75th anniversary / The Citroen 2CV phenomenon — The story of this unconventional classic is told by Chris Bowes / Honeymoon trip in a Riley — Malcolm Bates tells us about a young couple's trip to remember in a 1929/30 Riley Monaco / Memories of Woolf Barnato and W.O. Bentley — Rivers Fletcher relates his personal reminiscences of Woolf Barnato and W.O. Bentley in the 1920s and 30s / 1933 Alvis Speed Twenty — This month The Editor gives us his impressions of this traditional — but tecnically advanced — British sporting car / Sunbeam Talbot Darracq rally — A report on the STD register's national rally by Nick Baldwin / Vulcan history part two — Michael Worthington - Williams continues his article on this comparitively little known manufacturer.

Think about the multitude of choices you're faced with when it comes to personal capital: You could learn how to invest, design, code, paint, get fitter, become healthier, earn a side income, launch a business, improve your memory, be more productive, improve your social skills, speak more confidently, etc..

I guess that's one of the things that makes them different from photographs, in that a photograph might be a record, a snap, one moment — a painting I think is about creating a small world around that photo... I really like that idea of something that you can enter like a box or an exhibition space, and enter these little rooms which for me are memories, but it's not about nostalgia — it's more about setting up something that's still living — so it's almost they're all in the present, rather than in the past.»

In his diaries, which have a line about the weather each day, he made drawings from memory, and drawings to help him sort out difficulties he was having with the paintings in progress.

She notes: «The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other.

This groundbreaking exhibition follows the artist's exploration of interlined topics, including a halting suite of works about 9/11; contemporary «history paintings» on life in America since the events of 9/11; homages to his friends, the women quilt makers of Gee's Bend, Ala.; memories of vanishing ways of life and his childhood in the the South; and evocations of human struggles for freedom.

«It is all about memory, morals,... read more... «Shafrazi uses two coats of paint»

The paintings depict the wilderness and fantasies about great adventures with references to memories from the artist's early life in Kiruna, films he has seen, places he has visited or the smallness of humanity in the face of nature.

Prior to that, the discourse and history of painting was a way for me to think about history, memory and presence.

They're like memories of family — each one is different, but certain paintings aren't about memory.

It's very interesting if you think about painting as memory, because in this age where we have more and more information, having more and more information doesn't mean that we also have more memory.

The panel will explore the timeliness of this recent iteration of digital abstraction, with three artists who variously work through issues such as: how gesture, expression, and authenticity might continue to be possible in a contemporary image - based culture; whether our digital era truly produces an ahistorical condition in which images and marks have no specific reference and no relevant point of origin; how structures of and interfaces with digital technologies have necessitated new models for thinking about memory, distribution, and reproduction, as well as degradation, rupture, breakdown, and the void; and how the ubiquity of the screen in all aspects of life has given rise to a renewed interest in the relationship between two - dimensional and three - dimensional space, with a refreshed focus on tromp l'oeil and «topographical» painting.

I paint from memory, using sketches and photographs as reference, but informing the painting with everything I am thinking about in my life and the world at large.

Yiadom - Boakye offers few details about the subjects, allowing her paintings to be open to a range of narratives, memories and interpretations by viewers.

Paintings by known and unknown artists, photos, and children's doodles are transformed by the artist's hand, equalizing them and asking questions about worth, meaning, homage, memory, and making as a form of intimacy.

A: Viewers connect to the work because the paintings are not just about a specific place but are also rooted in memory.

Informed by landscape and the visible reality of the physical world, these works move away swiftly from that mode of representation, positioning themselves as transient moments (in the artist's visual present or in his memories of such moments) and simultaneously as objective ideas about color, forms, and composition - that is, about painting itself.

Dazzling and surprising, this Tate Britain retrospective by the 1998 Turner Prizewinner Chris Ofili should erase memories of the media sniping about him making money from using the so - called «gimmick» of incorporating elephant turds in his paintings...

His paintings — depicting lush and evocative landscapes populated by figures and animals — are as much about colour, the slippery nature of memory and the visual pleasure of painterly mark - marking as they are about their often enigmatic subjects.

Doig once told the critic and art historian Richard Shiff: «People have confused my paintings with being just about my own memories.

«While my work is situated in the present, it often invokes artists from the past whose paintings linger in our collection memory and influence how we think about landscape.

The process result in a series of works that speak about painting, life, beauty, memories, engagement.»

These paintings draw on the artist's memories of first learning about the pilgrims as a young child in the 1930s, and reflect on how interpretations of history change across the ages.

The mixed media collages, mylar, paper, paint and sometimes wood chips, are about time in relation to memory and personal history.

The recent paintings, even more than earlier work, are about a saturation and layering of sense memory.

Speaking about the exhibition, Sean Scully remarked: «In making these paintings I was preoccupied with my memories of Venice, the movement of the water, how it heaves against the brick and stone of the city.

That painting wasn't so much about the memory as it was using a memory to create a still life setup outside.

I don't really think about other artists too much, but I do have this memory of seeing Robert Rauschenberg's giant painting at MASS MoCA's football - stadium - sized gallery.

Using found imagery and carefully constructed tableaux, his seductive yet challenging figurative paintings explore complex ideas about history, memory, political extremism and art history and are influenced by his experiences growing up in the last years of Ceausescu's dictatorship.

Join artist Darren Almond as he speaks to curator and writer William A. Ewing about his diverse practice which incorporates film, installation, sculpture, painting and photography, to produce evocative meditations on time and duration as well as the themes of personal and historical memory.

«The Annual 2012,» National Academy, New York, NY, January 25 — April 29, 2012 «Material,» curated by Duro Olowu, Salon 94 Freemans, New York, NY, February 8 — March 10, 2012 «Weighted Words,» Zabludowicz Collection, London, England, March 1 - June 10, 2012 «Self - portrait,» Louisiana Museum of Modern Art, Humlebaek, Denmark, September 14, 2012 - January 13, 2013; catalogue «TERRAIN: Selected Works from the Linda Pace Foundation Collection,» Linda Pace Foundation, San Antonio, Texas, February 17 — March 23, 2012 «The Painting Factory: Abstraction after Warhol,» Museum of Contemporary Art, Los Angeles, Los Angeles, CA, April 29 — August 20, 2012 «The Residue of Memory,» Aspen Art Museum, Aspen, Colorado, May 11 — July 15 «Material Assumptions: Paper as Dialogue,» Center for Books and Paper Arts, Columbia College Chicago, Chicago, IL, June 15 - August 11, 2012 «Invisible: Art about the Unseen, 1957 - 2012,» Hayward Gallery, London, UK, June 12 — August 5 «Painting in Space,» Luhring Augustine, New York, NY, June 22 - August 17, 2012 «New to the Print Collection: Matisse to Bourgeois,» Museum of Modern Art, New York, NY, June 25, 2012 — January 7, 2013 «Inaugural Exhibition by Gallery Artists,» Regen Projects, Los Angeles, CA, September 22 - October 27, 2012 «Blues For Smoke,» MOCA, Los Angeles, CA, October 21, 2012 — January 7, 2013; traveled to Whitney Museum, New York, NY, February 7 — April 28, 2013; Wexner Center for the Arts, The Ohio State University, Columbus, OH, September 21, 2013 — December 29, 2013 «Regarding Warhol: Sixty Artists, Fifty Years,» The Metropolitan Museum of Art, New York, NY, September 18 — December 31, 2012

Rabottini writes about the «visual traces» vibrating in the artist's paintings, where the fascinating dialectic between memory and reduction, distance and mediation creates new visual experiences.

MM I still have this memory of seeing you for the first time, I was coming into the gallery, and you were about two inches away from your painting Culled, examining it with a magnifying glass you had around your neck.

About the Show A Collective Memory: 2007 to 2017 highlights Arabi's seminal works from 2007 - 2017, including both figurative and abstract works, as well as a selection of his newest paintings.

Suss» paintings have a child - like, amateurish quality to them that nevertheless ask important questions about memory and belonging.

There's something about the quality of light in Louise Peabody's paintings that makes it easy to conjure a memory.

Ghenie is extremely curious about the differences among facts, fiction and memories and he is exploring these realms through the uneven and confusing textures in his paintings.

10: «Anton Ginzburg: Terra Corpus»: A trilogy of works in film, photography, sculpture and painting about legendary landscapes and collective memories.

Notable examples include «H.M. 2009,» Kerry Tribe «s double film projection about an epilepsy patient who lost his short - term memory in experimental brain surgery and Nina Berman's arresting images of former Marine sergeant Ty Ziegel, who was severely disfigured in a suicide bombing in Iraq; R.H. Quaytman's series «Distracting Distance,» which riffs on the physical act of perception; and Suzan Frecon's huge minimalist paintings, which embrace the labor intensity of making an art object that is intended to last.

These paintings are metaphorical displays of how memory is constructed and how its layers are formed — but first of all, they are about painting.

This series of colorfield paintings is derived from haiku, dualities, ideas about memory, and my preference for jewel - like colors.

In Working from Memory, his most recent publication, he talks about how the Brownie camera — and the landscape of west Alabama — helped him move from pure Abstract Expressionism to his own painting dialect:

I started not worrying about whether it was a good painting, and instead thinking, «This is just a particular painting, it is about this memory, or this woman's song.

These paintings draw on the artist's memories of first learning about the Pilgrims as a young child in the 1930s, and reflect on how interpretations of history change across the ages.

Youthful memory: the first time some jerk, upon overhearing talk about abstract painting, held up a blank sheet of paper and jokingly claimed, «Look, it's a landscape in a snowstorm.»