Sentences with phrase «paintings focus on the relationships»

Not exact matches

Hannity interjected that his relationship with Cohen was «minimal,» something he had underscored in previous statements where he painted the interaction as being mostly focused on real estate and insisted he «never retained» Cohen «in the traditional sense.»

Edited by the exhibitions's co-curators Frances Morris and Tiffany Bell, and with essays by leading scholars that give a context for Martin's work — her life, relationship with other artists, the influence of South - Asian philosophy — alongside focused shorter pieces on particular paintings, this beautifully designed volume is the definitive publication on her oeuvre.

Hirst's «Kaleidoscope» painting, «The Kingdom of the Father» (2007) is included in this major exhibition of work focusing on our relationship with wildlife and nature.

Here, in the latest of our interviews surrounding Phaidon's Vitamin P3 compendium of recent painting (for which Hoptman served as a nominator), Artspace's Dylan Kerr spoke to the curator for a fascinating glimpse behind the scenes of her work, discussing the staying power (or lack thereof) of the «Zombies,» the strange and sometimes strained relationship between institutions and the art market, and why a good curator focuses on needs, not trends.

The gallery's longstanding relationship with many of its artists will be highlighted by focusing on important early solo exhibitions at Art Projects International: Jian - Jun Zhang: Water and Fire (1995); Gwenn Thomas: Recent Work (1996); Il Lee - Line and Form: Drawings 1984 - 1996 (1997); Pouran Jinchi: Recent Paintings (2000).

Focusing on the relationship with his friend and fellow artist Marcel Broodthaers, as well as artists ranging from George Condo, Gavin Turk and David Altmejd, the exhibition explores the way Magritte set into motion the concept of the «trashing of painting by painting itself», an idea still wilfully prevalent in art today.

Ortner's process focuses on his unique relationship with the ocean which is reflected in large - scale paintings of bodies of water.

His painterly practice has always oscillated freely between figuration and abstraction, but in the past few years gained a specific focus on the relationship and dichotomies between Western and Asian approaches to landscape painting and nature.

«The paintings» focus is on these relationships and the psychological space and emotions that are carved out among the persons that I'm portraying.»

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.

The National Gallery's major spring exhibition explores the relationship between Michelangelo and Sebastiano del Piombo, focusing on two collaborations: the Pietà for San Francesco in Viterbo (c. 1512 — 16) and The Raising of Lazarus, painted for the Cathedral of Narbonne (15 March — 25 June).

Ricky Molander's paintings use the grid as a starting point; he creates geometric abstractions with some illusion, focusing on color relationships.

Painting in 1950, this 18 - by -24-inch Sapolin enamel on paper reflects the artist's decision in the late 1940s to eliminate «color from his palette in order to focus on line, form and imagery» resulting in «the birth of a confident and energetic synthesis of abstraction, biomorphic forms and gestural «action painting»... The black and white abstractions also demonstrate the crucial relationship between drawing and painting in de Kooning'sPainting in 1950, this 18 - by -24-inch Sapolin enamel on paper reflects the artist's decision in the late 1940s to eliminate «color from his palette in order to focus on line, form and imagery» resulting in «the birth of a confident and energetic synthesis of abstraction, biomorphic forms and gestural «action painting»... The black and white abstractions also demonstrate the crucial relationship between drawing and painting in de Kooning'spainting»... The black and white abstractions also demonstrate the crucial relationship between drawing and painting in de Kooning'spainting in de Kooning's oeuvre.

Focused on painting and sculpture, it explores «visible reality through the analytical lens of the 3D computer - modelling world», delving into the relationship between the art object that takes visible reality as its point of reference, and the boundaries of verisimilitude between observable reality, art and science.

Though his focus on form and relationships is more obvious in his three - dimensional work (mostly made up of freestanding folded sculptures and totem - like large - scale outdoor sculpture), the relationships of space and the inextricability of form and color is essential to his painting as well.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.

The walls of the space will be treated like a collage sheet and furnished with a constellation of paintings and collages focusing on the formal relationship of - human - figure and pictorial ground.

Alex Katz: New York comprises some 40 paintings and aquatints, focusing mainly, as the title suggests, on his relationship with his native city.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

These principles brought forward in time, focus on the relationship between wall, paint, and support to create a Post-Modern fusion of sculpture and painting.

Hume continues to focus on flora, fauna and portraiture using his distinctive high - gloss palette, yet his new paintings push further towards complicating and beautifying the relationship between surface and subject, between image and abstraction.

«Man, Animal and the Machine» is a series of 8 large scale painting's focused on the symbiotic relationship between these forces.

Focusing on the relationship between photography and other art forms, the platform is a curated initiative that spotlights artists working with installation art, sculpture, video, performance and painting, in order to re-interpret photography.

This exhibition focuses on Paul Gauguin's rare and extraordinary prints and transfer drawings, and their relationship to his better - known paintings and his sculptures in wood and ceramic.

In her drawings, paintings and artist's books, San Francisco - based Tauba Auerbach investigates the relationship between spoken and written language, focusing especially on those points where the familiar structure begins to break down or slip.

Tannenbaum has organized numerous exhibitions focusing on painting, sculpture, video, and interdisciplinary work, with a particular interest in relationships among fine art, craft, and design.

Coinciding with the rise of modern branding and the onset of the information age, artists» focus on commodities and consumerism began as satire but came to be much more complex: commodities and associated phenomena, such as advertising, now served as vessels for ideas, politics, and personal relationships in «brand - new» types of painting, sculpture, photography, installation, and performance.

My current work has been focused on new mirror paintings that take their patterns from security fences on gates and windows found throughout Puerto Rican neighborhoods, emphasizing the relationship between decoration and protection in the home.

For the 0,10 exhibit, Malevich created paintings that completely obliterated all references to the recognizable world and focused instead on the inherent relationships of geometric shapes of various colors that seem to float against their white background — floating so free, it would seem, that the paintings did not warrant a frame.

I focused on how to make paintings self - subsisting entities — experienced on their own terms despite any aesthetic relationship to history or the projections of others.

Featuring significant paintings by Roy Lichtenstein, Jean Dubuffet and Morris Louis, the collection places particular focus on the shifting relationships between abstraction and Pop Art on both sides of the Atlantic.

While Lichtenstein used hand - painted comics to develop a relationship between art and popular culture, Warhol focused on photography, silkscreen printing, and cinema to push his avant - garde imperatives.

Abstract Expressionists These visual artists, divided loosely between exponents of «action - painting» and «colour field», sought to escape the outside world and focus on their relationship with the viewer.

As Anderson states «After dealing with the complexities of representing the barbershop itself, the last three paintings focus on the client and the viewer's relationship to him» («Hurvin Anderson in conversation with Thelma Golden», Art Now: Hurvin Anderson.