Sentences with phrase «paintings challenge viewers»
Worst's paintings challenge viewers with these questions while at the same time simply allow us to savour their beauty, opulence and richness of detail, all perhaps a meditation on human desire.
https://www.benbrownfinearts.com/ Not exact matches
The collection challenged viewers with the beautiful and the bizarre in a wide range of paintings, sculptures, design pieces and photographs, all fluidly grouped by associations and themes.
The viewer is left with more questions than answers, as Pelaez's paintings seem to challenge their own existence.
With «pattern paintings» intentionally resembling wallpaper, and paintings that capture the image of viewers on their surface, the work presents a playful challenge to notions of gallery space and what constitutes a painting.
Alvarado, Donegan, Hachisuka, Hiro, Hansen, Tuttle and Wurtz each offer discrete challenges to accepted subjects and approaches in modern painting: the nonreferentiality of abstract art, the relationships of artist to model and of artwork to viewer, and the conventional roles of the gestural painter.
Valledor's paintings are as dynamic and fresh as the day they were painted and the viewer is still encouraged to challenge visual perception and use their imagination to explore his canvases.
Gibson's paintings are filled with subtle yet provocative disjunctions, which challenge the viewer's initial perceptions of the pieces.
The subject is at once vulnerable yet possibly challenging the viewer; the pink swathes of paint throughout the composition can either be energizing or lurid.
Through glass works designed and fabricated in Murano and the Seattle area, as well as in paintings, sculpture, prints, and video, Wilson challenges assumptions about history, culture, and display practices, offering alternative interpretations and encouraging viewers to reconsider how they think and what they know.
The black paintings build in an obstacle by challenging most viewers» patience.
Inspired by Song dynasty painting techniques and calling on a generous worldview, Liang's creative process hints at her concern for articulating an alternative way of expressing the inexhaustible chaos of our world and challenges the viewer to restore order.
As a result, this technique challenges the viewer to discern if the painting is behind, in front, or absorbed into the surface.
Each painting creates a space and world of its own, captivating viewers and challenging them to spend time with the mesmerizing works.
These iconic black and white works - paintings, gouaches and prints - challenge the viewer's sensations and form the foundation of Riley's continued explorations of shape, movement and perception over the following four decades and continued today.
As the viewer moved from gallery to gallery, they were presented with a series of paintings and sculptures that aggressively challenge the very idea of portraiture, from Marsden Hartley's One Portrait of One Woman (the woman being Gertrude Stein, whose work was referenced multiple times in the show) to Glenn Ligon's moving and disturbing Runaway series from 1993 that juxtaposes images of runaway slaves with descriptions of Ligon written by his friends and colleagues.
Through this process, the two - dimensionality of his paintings approach three - dimensional space; a space to which the viewer is challenged to adapt.
With a range of references to the Kabbalah as well as the Taoist philosophy of wu wei (loosely translated as «letting go»), Milder's encyclopedic passion for codes challenges viewers to draw out the meaning of the symbols in his paintings.
«Her new work challenges preconceptions of abstract painting, inviting the viewer to a journey to an unknown place, exciting, sensual and uncompromising.»
Jordan Kantor's enigmatic paintings seem to pose this question explicitly, by challenging viewers» expectations about the mediation of images...
The hang is key to their appreciation; indeed they require what all challenging painting demands, that the viewer come and go from the works, to consider and reflect.
These works challenge the traditional two - dimensionality of painting and leave the viewer with an almost sensual, clothing - like sense of the painting's surface and the body below.
«What makes Torey's work so appealing is his employment of purposely ambiguous imagery, which challenges viewers to approach his paintings from a very personal point of view,» explains Holly Hughes, Albright - Knox's curator for the collection.
The angry provocateur who helped to forge a new identity for German painting after the Second World War is still taking risks; the painter who saw works from his first solo exhibition in 1963 confiscated by the authorities for their grotesque sexual imagery is still challenging the viewer.
Muniz challenges the viewer to look at these historic paintings through a new lens, focusing the attention on the literal creation of the works and the richness and purity of each colour used.
Through an unswerving challenge to the meaning of painting in the world today she gives a voice back to painting: a voice that remains on the pulse, and engages with the viewer in a direct, natural and anything but elitist manner.
In breaking with many of the medium's conventions and straddling the border between East and West, Rebecca Salter's (UK, 1955) works offer the viewer an opportunity to challenge the normative canons of experiencing painting and the way such encounters influence one's perception of the world.
The practice of New York - based artist Grayson Cox incorporates photography, printmaking, architectural building, painting and carpentry to create works that «challenge the viewers» notions of space and parameter.»
Rather than solely addressing the figure in painting, Mothernism challenges Greenbergian ideals of «flatness» by inviting the viewer into her painting - as - installation, a figure / ground relationship so upended as to become participatory, or relational.
As has been widely reported, Dana Schutz's painting Open Casket (2016) was immediately challenged by protestors who stood in front of it to block viewers» access along with a call to remove and destroy it.2 At issue is the appropriation by this white painter of the photo of the lynched - body of the black boy, Emmett Till, taken at his open - casket funeral held in Mississippi in 1955.
Scrutinizing optics and the painting itself, under Southern California's patented sunshine, Daniel Aksten forges mathematical structure, chance, and an astonishing degree of craft to produce paintings that challenge the viewer to re-examine how much one thinks they can actually see.
Through her meticulous and systematic practice, Quaytman challenges historically determined assumptions about the relationship between viewer and painting, and questions painting's autonomy as a means of visual communication by foregrounding, within her work, the context of its reception.
They created paintings that challenged the viewers» perceptions with visual uncertainty.
In work ranging from photographs, cut wood sculpture, prints, and billboards, Montgomery foregrounds poetic verses that challenge the viewer to rethink his conceptions of the world, or paint an evocative picture of another world.
The book as a whole proves the range of his artistic curiosity, which challenges itself, the viewer and the medium of painting with its ever - evolving approach.
Isabelle Cornaro employs painting, sculpture, installation, and film in her quest to challenge the way viewers perceive reality, dictated historically and culturally.
Experimenting with modulations of form, color, and plane, Clark's early abstract works challenged the canvas» edge and extended the visual field of painting into the physical realm of the viewer.
Sampling images from pornographic films and fashion photography, Liz Neal's paintings and installations challenge viewers with frank and livid depictions of carnality.
The thought - provoking sculptures and paintings seduce with their surfaces as a metaphor for human appearances, but challenge viewers to look closely at a person and go beyond skin deep.
The paintings challenge visual perception and the viewer's imagination.
A video pioneer and sculptor, Lynda Benglis transcends painting and sculpture by creating solid forms with liquid materials that challenge viewers» perceptions of movement and gravity.
Park continues to challenge the viewer's assumptions by photographing each paint - splattered vessel, once more displacing the genre's meditative element with a more immediate, contemporary practice.
Relying also on the images that surround us, John Baldessari encourages the viewer's attention to minor details, absence, and the space between things, and through his manipulation of the image, and the painting over the faces with primary colors, and the obscuring of the portions of the scenes, challenges and creates philosophical inquiries into art and knowledge.
More seasoned viewers may be challenged to find Mitchell in the paintings, where she can be camouflaged in the distinctive stylistic imprints of her Abstract Expressionist predecessors and «second generation» contemporaries.
British abstract impressions Artist Melanie Berman paintings explore tangible and intangible elements of the natural world and multiple narratives that challenge and engage the viewer.
One isolated vertical paint stroke, only one and half inch wide but the same height as Vir, The Wild is the opposite of all - over painting as espoused by one of Newman's champions, Clement Greenberg: it is sculptural, it is even theatrical, but the two works create a pincer movement that assert or challenge the viewer's sense of proportion, dimensionality, and measure just as Newman wished.
The environment gets less attention, but of course it makes a big difference to the reception of the work — a difference which is in turn influenced by the work and the viewer: some paintings are less able than others to assert themselves within a challenging context, and some people are relatively immune to where a work is hung; provided they can see it, they are good at isolating the item of primary interest from its surroundings.
Contemporary American artist Jessica Hartley effortlessly conquers the challenging nature of abstraction with her energetic panels that break free of the boundaries of their two - dimensional forms and confront the viewer with their bold colors, expressive paint application, and incredibly dynamic shapes.
The huge exhibition moves from a diptych of Hans Namuth's film of Jackson Pollock at work, playing on a monitor next to Pollock's Number 1 (1949), through - among so many other things - Japanese Gutai painting performances from the»50s; photo - documentation of Valie Export's Genital Panic (1969), in which Export, in crotchless jeans and packing an Uzi, roamed the aisles of a porn cinema challenging viewers to deal with the real thing (there's that «real» thing again); relics of Hermann Nitsch's bloody ritual drama, Asolo Raum (1971), to the most recent works, set pieces by Mike Kelley and Paul McCarthy.