Sentences with phrase «parallel practices of painting»

Over the course of his career, Diebenkorn maintained parallel practices of painting and drawing.

Not exact matches

His process of working ideas out first on paper parallels my practice of using watercolor studies as a springboard into painting.

Seen as a whole, his practice raises fundamental and evergreen questions about the value of images and art, the nature and possibilities of painting and film, the intertwined relation of our subjectivity to cultural identity, and the ways we address what we experience in life in parallel to the mediated world of images.

As an artist and writer he was deliberate as nature, and this body of work represents a parallel to his ongoing consideration of painting practice in the aftermath of modernism.

Painting and filmmaking are parallel activities within the artist's practice and she sees them as a way of investigating, tracing and playing with «urban, social and bureaucratic typologies».

Parallel to her practice as a theorist linking between art, psychoanalysis, philosophy and feminism and publishing important theoretical articles, Ettinger works in a singular ways in the medium of painting and Video.

Thinking about his sound work as an audio parallel to the painterly practice of translating information from the world onto a surface in the studio, Augustus Thompson's installation combines sounds from the studio, outside noises and constructed harmonies into what the artist considers a «sound painting.»

According to de Kooning, «the key to his self - discovery» was the «hundreds of tiny sketches on small pads, menus, napkins, envelopes, on the backs of bills, on any scrap of paper around a park, cafeteria or studio».10 Kline had created these in private and in parallel to his more formal and public practice of figurative painting.

They want badly to be more than paintings — see how many of the scalloped shapes lift off the support like feathers summoning flight while exposing not bare canvas but reflective Mylar — but they air that complaint in whispers, not stage screams, despite Yates» parallel practice making indie - rock posters.

Zhu's painting practice is divided into two parts: all - over paintings which literally cover the canvases end to end with paint often the depth of the human hand, and what are known as Liu Bai paintings In parallel with works such as these, Zhu has recently explored the flat application of the black monochrome, with all of its minimalist and philosophical implications.

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

Parallel to her painting practice, in the 1980s, Graves was among the avant - garde artists pioneering sculpture in the «traditional» medium of bronze casting, and was awarded major public commissions for large - scale, site - specific installations.

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.»

Standouts include Carrie Mae Weems» holographic narrative about race, sex, and politics portrayed by ghostly characters on a burlesque stage; The Propeller Group's video that draws parallels between funeral practices in Vietnam and New Orleans, along with the collective's sculptures of tricked - out musical instruments, which were also photographed with members of Louisiana marching bands; Glenn Kaino's installation of water tanks that turn military machines into coral reefs; Jean - Michel Basquiat's paintings and works on paper that reference the cultural legacy of the Mississippi Delta and the South; Camille Henrot's video exploration of the universe by way of the storage rooms of the Smithsonian Institution; Tavares Strachan's 100 - foot long neon sign declaring «You belong here» from a barge on the Mississippi River; and Andrea Fraser's monologue, in which she recreated a heated debate by New Orleans city council members during a 1991 vote to racially integrate the Mardi Gras krewes — changing her voice and expression as she dynamically alternated between speakers, both black and white.

Wayne Gonzales» photographic practice has evolved in parallel to his painting practice over multiple decades, and documents the changing landscape of the New Orleans waterfront post-Katrina.

Embracing the connection between art and life, Shirley Goldfarb's paintings run parallel to her longstanding practice of journaling and recording video; documenting life in the café, at home and in the studio and providing a portrait of the unique persona she created after moving to France.