Sentences with phrase «paintings explore the question»

My paintings explore both questions by sustaining tension between what is artificial and what is natural, between what is chemical and what is biological, between organic and inorganic.

His paintings explore the question of how humans fit into the natural world.

Not exact matches

A starter activity for students to explore possible connections between the paintings and question what is going on in them.

2016 — Bohrer, Ashley, The Commodified Built Environment, Red Wedge, August 2015 — Derrick, Andy, Friday Feature, Matthew Woodward, ArtSquare, December Hartigan, Phillip, Seeing the Art For the Trees, Hyperallergic, August Daignault, Kristina, With Matthew Woodward, Inside the Artists» Kitchen, May 2014 — Hartigan, Phillip A, Expo Chicago Fails to Inspire, Hyperallergic, October, Obaro, Tomi, What I'm Doing This Weekend, Matthew Woodward, Chicago Magazine, October Juarez, Frank Art365, Matthew Woodward, May Hildwine, Jeriah, Matthew Woodward, Review, ArtPulse Magazine, April 2013 — Hall, Sarah Elise, Art - Rated, Matthew Woodward, Interview, November Klein, Paul, Art Letter, The Huffington Post, October Sherman, Whitney, Playing With Sketches, Rockport Publishing, October 2012 — Meuller, Rachel, Meticulous Chaos, Be Nice Art Friends, July Taskaporan, Erol, Matthew Woodward, Interview, Neo Collective, July Gumbs, Melissa, View From the Birth Day at the Chicago Cultural Center, Examiner, July Amir, Matthew Woodward's Decaying Drawings, Beautiful / Decay, May Dluzen, Robin, Catalogs of Anonymous Forms, Chicago Art Magazine, April Debat, Don, Unveiling the Unique, Chicago Sun Times, March Mutts, Lost at E Minor, New Art, January 2011 — Vora, Manish, Iconomancy: The Magic of Art, Art Log, November Pocaro, Alan, Keeping Your Balance in the Windy City, Art Critical, October Hausslein, Allison, Fanmail, Dailyserving, November Marszalek, Norbert, One Question, Neotericart, October New American Paintings, Number 95, Midwest Edition, June Cook, Greg, Contained at BCA, The New England Journal of Aesthetic Research, April James, Damian, More Than a Whisper in the Ear, Bad at Sports, January 2010 — Blau, Lilly, Love and Real Estate, The Huffington Post, November Himebauch, Adam, Matthew Woodward, Veoba Magazine, November Pitts, Johnathan, Look What They Found, Baltimore Sun, July Duquette, Laura, Featured Artist, Artery Magazine, May Duquette, Laura, How WNY Has Influenced His Work, Buffalo Rising Magazine, May Pocaro, Alan, Selections From the INDA 5, Aeqai, April Franz, Jason, International Drawing Annual 5, Manifest Gallery, March Solamo Tony, Barrington Hills Courier - Review, January Barber, John, Medium Magazine, Outside Infinity, February Avedesian, Alexi, Vellum Magazine, Spirits, January 2009 — Reed, Marliana, Invisible City Magazine, Issue 6, November Lacy, Rebecca, MuseMemo Magazine, Hauntingly Beautiful, October Abram, A, Spillspace Magazine, All the Wild Horses, September Kohn, Iliana, Lost At E Minor Magazine, Issue 244, 245, August Tremblay, Brenda, Finger - Lakes Explores Connections, Mysteries, WXXI, P.R, August Low, Stuart, Drawing Together Man and Nature, Democrat and Chronicle, August Wheeler, Dan, Upstate Artists Exhibit in Exclusive MAG Show, MPN Now, July Rafferty, Rebecca, The Elephant in the Room, City Newspaper, July 2008 — O'Sullivan, Michael, Modern or Retro?

This exhibition explores the relationship between philosophical and art - theoretical principles that are central to Coventry's approach to making art, and questions the deontological concept that the value of a painting does not depend on external factors but rather on the way it has been executed.

In the Sauna paintings, Varejão explores questions inherent to painting and geometry, with a sensitive use of light and shade to represent simple, contemporary tiled interiors that the artist describes as «psychological ambience».

The artist questions the limits of painting with three - dimensional works that explore the functional purpose of the image and how it shapes the experience of life in the postmodern condition.

Questions about the relevance of painting in the aftermath of Minimalism, debates about representation, «culture wars,» and a revived interest in personal narratives are explored in works by artists such as Carl Andre, John Baldessari, Felix Gonzalez - Torres, Peter Hujar, Neil Jenney, Barbara Kruger, Robert Mapplethorpe, Agnes Martin, Richard Prince, Martin Puryear, Susan Rothenberg, Mark Tansey, and David Wojnarowicz.

Calling attention to a series of works that have not yet been fully appreciated for their true significance in the artist's development, «Philip Guston: Painter, 1957 — 1967» explores a decade in which Guston confronted aesthetic concerns of the New York School, questioning modes of image making and what it means to paint abstractly.

Akunyili Crosby's works are multilayered both in their materials (she uses paint, charcoal, pencils, fabric, paper transfers, and collage) and in their meaning — she explores questions of cultural identity, relationships, and geography through portraiture, interior space, and objects.

A recent graduate of Bucks New University, London - based Cavers makes site specific constructions exploring the process of painting, and the history of painting and display, investigating questions of success and failure in these media.

The Challenge of Realism will explore these significant questions through the juxtaposition of contemporary realist painting and the popular imagery of the mid twentieth century.

From the visual representation of time (known by Latham as the «quantum - of - mark») in the early spray paintings and One - Second Drawings, to the book reliefs of the 1960s, the roller paintings of the 1970s and the late glass tower works which incorporated bits of all theorems, John Latham maintained a steadfast devotion to exploring the most complex cosmological ideas and questioning the traditional notions and structures of art, science and philosophy.

At the heart of Lynette Yiadom - Boakye's work is an exploration of the traditions of painting through a focus on technique, structure, composition and colour palette as a tool for exploring questions around identity and representation in art.

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.

Since the early 1960s he has explored a number of related themes and ideas, producing paintings and photographs that question the nature of the images that can be produced by both mediums.

For the exhibition, Alex Clarke (b. 1988, Nottingham, UK) presents paintings that explore the aspiration of a person making a painting, and utilise paper to question the painterly «gesture.»

Charles Mayton is New York - based contemporary artist, whose paintings combine the abstract and the schematic, exploring the questions of time, language and performance in painting, straddling abstraction and figuration.

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.

Meredith Marsone is a New Zealand based artist known for her figurative oil paintings that explore questions of heritage, memory and identity.

Her painting expands on these themes by negotiating the in uence of a number of artists such as Jim Shaw, Alice Neel, Walter Robinson, and Gerda Wegener.This notion of intimacy is further explored by the equal power she invests in symbolic, personal, and pop cultural images, bringing into question the viewer's relationship with emotion and artistic subject matter.

Each element seeks to explore, promote and question the relevance of painting and the hand - made work of art in the digital age through loans, exhibitions, talks and publications.

The free event explores the state and shape of contemporary painting, asking the questions «How far have artists extended the boundaries of the medium in the twenty - first century, and what does it mean to be identified as a painter today?

She explores painting in the wake of conceptual art, continually questioning the possibilities of the medium and furthering many concerns explored throughout Western art history — flatness versus depth, materiality versus illusion, the epic versus the everyday, the grid versus the gesture.

His process questions the changing definition of painting, and utilizes every day home office tools such as the scanner, inkjet printer, and creative computer software to explore modernist ideas of composition, color, and form.

In meticulously executed paintings, Kahlo portrayed herself again and again, simultaneously exploring, questioning, and staging her self and identity.

She said the Physical / Ephemeral exhibition has allowed her to explore new formats and ideas for her work and has encouraged her to try creating work that she feels questions the boundaries between painting and real space.

The exhibition explores questions about the current state and future of painting by creating a dialogue with works from the past.

Amanda Ross - Ho assembles materials and detritus, from found objects, photographs, drawings, sculptures, to paintings and video clips, into installations that explore questions of craft and «high» art and seem to clue us into a rich and personal socio - cultural world.

In mixing materials and methods, Staniak explores the different ways in which digital information is changing the physicality of painting and sculpture while addressing the question of permanence in the storage of digital files.

His work poses questions and sets out manifestos, exploring the legacy of surrealism, through bold abstract paintings and texts.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

For over several years, Xu Qu has been exploring a wide range of mediums, such as videos, paintings, sculptures and installations that are questioning the reality of our global world.

Since the 1960's, Joe Goode questions the impermeability of the surface of the painting and explores the experience of seeing through it.

In her second exhibition at Peres Projects, Kara uses painting, sculpture and photography to explore questions of identity through those of anonymity.

Executed on unprimed canvas and attached to rollers, it differs from conventional painting by exploring the question of time: the near - invisible tiny dots made by the gun hover on the verge of existence, suggesting «a coming into being» when they accumulate with others; and by rolling the canvas up and down, Latham was able to make painting a temporal exercise in a process analogous to memory, aimed at exemplifying the experience of past, present and future.

At this remove, she continued to explore the idea of paint at a juncture in postwar American art when the very notion of painting was being called into question.

Peri's primary mediums are drawing, sculpture and painting: three distinct bodies of work which explore the tension between line and volume, figuration and abstraction, and the question of tradition and influence in Modernism.

, known for her idiosyncratic projects such as the wearable Menstruation Machine — Takashi's Take (2010); New York - based Iranian abstract painter Ali Banisadr, whose paintings often reference growing up during the 1978 — 79 Islamic Revolution; London - based Faiza Butt, who taps into Pakistani artistic traditions while creating work that questions gender and sexuality; and Australian artist Robert Andrew, whose kinetic machines explore his Indigenous heritage.

Assuming a three - dimensional surface, they explore the shaped canvas and question the boundaries between painting and sculpture.

The group, which explored the essence of painting and undermined traditional institutional structures, raised questions about authorship and originality.

«The Meaning of Life» includes 100 paintings, prints and drawings, some created especially for this exhibit, which was created to explore the legacy of the search to answer the fundamental questions of life through art.

Having often addressed questions of feminism and cultural convention, Paulina Olowska revisits the work of Zofia Stryjeńska — exploring the Polish artist's notion of ballet as a «wreath of ceremonies,» designing costumes after her 1918 painting series Bożki słowiańskie (Slavic Deities).

«The questions he explores in painting (and in his related writings) belong to religion and philosophy: the meaning of life and death, the purpose of consciousness, and what it means to be good or do good.

Exploring the ways in which paint evokes fictive experience segues into the question of what each of us brings to perceiving the world.

In each 30 - minute session, explore select works in Dana Schutz: Eating Atom Bombs through a series of questions that examine the connection between the state of America today and Schutz's sculptures and paintings.

Students will paint a variety of still lifes which will be the springboard for exploring the answers to these questions.