Sentences with phrase «personal space of painting»

An African American who grew up in south - central Los Angeles, the artist's richly textured collages merge his fascination of the personal space of painting with the sprawling, continually changing street facades of the city and the particular political and racial tensions that still exist there.

Not exact matches

My personal feeling is that I alway respond to painting abstractly - not paying much attention to ostensible subject matter, but instead focusing on the space, line, form, and color - the language of painting.

Forty - four sumptuous canvases, along with related objects, trace the artist's journey from painting still lifes in intimate interiors in the late 1920s, to vibrant, large - scale spaces in the 1930s, to more personal interpretations of daily life in the 1940s.

Iva Gueorguieva adapts the visual language of modern abstraction to create tumultuous, energetic spaces on canvas; her process of building up paintings by layering torn cloth with pigment and color washes produces spontaneous, dynamic compositions rooted in personal stories.

For her solo show at IMT Gallery in East London, Newcastle - based artist Paola Ciarska's minute paintings showcase the personal, domestic spaces of people she knows; this paradox of their display in a public gallery space is engaging, aesthetically beautiful and frequently amusing.

Her painting seeks an intersection between perception and abstraction using the phenomenon of light, space, and form as personal metaphor.

2010 Art of The Eighties, Nymphius Projekte, Berlin Re-Seeing the Contemporary: Selected from the Collection, Dallas Museum of Art, Dallas Psychedelic: Optical and Visionary Art Since 1960, San Antonio Museum of Art, TX (catalogue); travelled to Memorial Art Gallery, University of Rochester, NY; Telfair Museum of Art, Savannah, GA Inside, Outside, Upstairs, Downstairs: The Addison Anew, Addison Gallery of American Art, Andover, MA Art of the Eighties, Nymphius Projekte, Berlin Color and Form, Los Angeles County Museum of Art, Los Angeles Once Removed, The Apartment, Athens Masters of Impressionism and Modern Art, Heather James Fine Art, Jackson, WY VaXiNation, Xippas Gallery, Athens Global Art Show, The Columns, Seoul Track and Traces, Galleria in Arco, Turin, Italy Abstract Vision 2010, Art + Art Gallery, Moscow The 80s Revisited: The Bischofberger Collection, Kunsthalle Bielefeld, Bielefeld, Germany (catalogue) Painting Panel Exhibition, in conjunction with the College Art Association Annual Conference, Shane Campbell Gallery, Chicago, IL Personal Structures: Time — Space — Existence, Künstlerhaus Palais Thurn and Taxis BV: BKV, Bregenz, Austria Pictures about Pictures: Discursive Painting from Albers to Zobernig, Daimler Art Collection, Museum Moderner Kunst, Vienna España / America: The Redefined Abstraction, Galeria Max Estrella, Madrid (curated by Demetrio Paparoni)

1995 Pasted Paper: Collage in the 20th Century, Louis Stern Fine Arts, Los Angeles, CA 25 Years: An Exhibition of Selected Works, Margo Leavin Gallery, Los Angeles, CA Between Reality and Abstraction: California Art at the End of the Century, Art Museum of South Texas, Corpus Christi, TX 1994 Balls, World Cup USA 1994, Newspace, Los Angeles, CA Twentieth — Century Drawings, Los Angeles County Museum of Art, Los Angeles, CA In Plain Sight: Abstract Painting in Los Angeles, Blue Star Art Space, San Antonio, TX Paintings of the 80's, RosamundFelsen Gallery, Los Angeles, CA Fractured Identity: Cut and Paste, Julie Saul Gallery, New York pen & ink, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA Fawbush Gallery, New York Very Visual Dialogue, Personal Journeys in Abstract Painting, Rancho Santiago College Gallery, Santa Ana, CA

Among others, Stacy Leigh's deeply strange nudes at Fortnight Gallery; Nicholas Cueva's mysterious paintings at the Brooklyn community space Five Myles; Louis Fratino's weird realism at Thierry Goldberg; Jordan Casteel at Casey Kaplan; Maryam Hoseini's complex illuminated manuscript - like paintings at Rachel Uffner; Nina Chanel Abney's grand combinations of Stuart Davis and Jacob Lawrence, at Mary Boone and Jack Shainman (who's become one of the better galleries in the world); Marcia Marcus's prescient 1970s paintings at Eric Firestone; the teeny storefront 56 Henry mounted consecutive excellent shows of Cynthia Talmadge, Richard Tinkler, and Kate Shepherd; personal perennial faves shone, including Cary Leibowitz, Lisa Beck, Mira Schor, Keith Mayerson, Julian Lethbridge, Betty Tompkins, Jack Pierson, Ken Tisa, Tabboo, and Ashley Bickerton.

Though often reminiscent of traditional landscape painting, these deeply personal paintings are not intended to reproduce nature, but function as a thoughtful interior meditation on the experience of being located in those spaces and experiential contexts.

«Current Locations» also speaks to these artists» affinity with creating a sense of place (or places): painter Barbara Marks creates voluminous pictorial & interior spaces with her deeply saturated color palette; Elise Church paints intimate environments based on her travels in space in time; Colombian artist, Esperanza Cortés incorporates natural resources and folklore motifs from her homeland as a means of exploring personal identity; Kyle Vu - Dunn sculpts warped «natural» environments to harbor the self; and Viviane Rombaldi Seppey blends world maps (with emphasis on places she's lived) with morbid imagery from traditional medical textbooks.

These paintings, with titles that refer to inspirational affirmations (It's not going to happen like that, Devotion, Determination, Perseverance and Potential) are suspended between an analytical depiction of reality and a dreamlike dimension, between autobiography and imagination, with her own personal style and narrative, in which the attention to time and space is central, evoking at the same time an affinity between life and painting, both imbued with intention and with mystery.

Many of Crosby's paintings are actually portals of some kind or another, providing glimpses into her personal life while momentarily transporting the viewer to the domestic spaces she experienced as a child in Nigeria.

In the adjoining side gallery, the Screen Combines take the tools of productions out of the paintings and into the viewer's personal space.

With time running out, MoMA painting curator James Thrall Soby, a personal friend of MacIver's, quickly contacted museums and collectors to determine whether they would collectively lend a sufficient number of MacIver paintings to fill the space.

The cultivation of a personal interior space or Inside allows room for psychic and emotional development, a place to organize memories, emotions and wishes into coherent forms: paintings, drawings and sculptures.

Attending to the cyclical nature of the artist's work, the project examines the transformations in Braque's creative process as he moved from painting small, intimate interiors in the late 1920s, to depicting bold, large - scale, tactile Cubist spaces in the 1930s, to creating personal renderings of daily life in the 1940s.

The main gallery spaces showcase Portman's architectural feats and are flanked by smaller rooms filled with abstract paintings and sculptures from his personal collection of his own work.

A pioneer of the 1960s California «Finish Fetish» and «Light and Space» movements, and an original member of the legendary Ferus Gallery's roster, Bengston's early paintings combined post-colorfield / proto - minimalist compositions anchored by iconographic references to popular culture (such as chevrons, in the context of the Vietnam War) and personal passions: the car and surfing culture of Venice Beach, motorcycle racing, and nature.

In the late 1960s / early 1970s, Bowling's interest in decolonized space turned towards the cartographic, as he began work on his celebrated «maps» paintings — large - scale canvases onto which Bowling would paint the outlines of continents and countries, often stenciling images with personal significance onto the map, and painting over the forms with washes of vibrant color.

In both her painted images and her animations, Sikander uses the process of layering to knit together elements from Hindu mythology, Persian tales, and personal experience in order to explore the shifting nature of the space — metaphorical and physical — in which we live.

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.

Explorations of home and personal space coexist with attened form and tightly controlled color in Zsofia Schweger's paintings.

In his recent large - scale paintings, images of his garden in Los Angeles are obstructed by images of thick brushstrokes, connecting the space of art with his own personal one.

ParisCONCRET, «Personal Space,» 3 - person exhibition, Paris, France 2008 Rocket Gallery, «Merger: New Minimal Painting in Dialogue With Contemporary Furniture Design,» group exhibition, London, U.K. PULSE New York Contemporary Art Fair, Artware Editions, Group Exhibition Reed Gallery, University of Cincinnati, «Weight of the World,» group exhibition 2007 Reynolds Gallery, one - person exhibition, exhibition essay by Stephen Westfall, Richmond, VA Lamar Dodd School of Art Main Gallery, University of Georgia, «Cowboy Magic,» one - person exhibition, exhibition essay by Saul Ostrow McCaig Welles and Rosenthal Gallery, Brooklyn, NY, «Wide Open,» group exhibition McDonough Museum of Art.

Through painting, sculpture and photography, this exhibition is an exploration of time and space, a suspension of reality, and a journey into a personal mental space.

From Heilmann's and Davidson's personal and quirky approaches, to Davie's sculptural undulations, Schifano's reductive vocabulary, Owens» and van Genderen's investigations of space, and, finally, Levine's sentimentally wise paintings, the work in this exhibit addresses ideas of pleasure for both the artist making the work and viewer beholding it.

The painting of domestic interiors by Montreal artist Ross Racine combine colour overlays with architectural rendering to convey the intimate atmosphere of a private and personal space.

In positioning himself between worlds — the art world, his family and community, peripheral spaces he seeks to inhabit — Murillo has made room for a new visual language, one that draws as easily and subversively on his personal narratives and the narratives around the places he has visited, as it does on traditional vocabularies of painting, installation, and sculpture.

The absence of a personal handwriting or brushstroke allows the artist distance and space to focus on what, for her, is the heart of the matter: looking, combining colors, and creating the right rhythm in a painting.

From far away many of these paintings appear to be large - scale gestural abstractions, but on closer inspection the viewer detects total flatness — the abstract paint marks were actually photographed and silkscreened on top of images of personal spaces, creating an image of abstraction rather than the abstraction itself.

Projects inspired by dualities of self include; Simon Denny's, The Personal Effects of Kim Dotcom, 2013 (ongoing), reimagined for the Main Gallery space, Thai - born, New York - based artist Korakrit Arunanondchai's exploration of East and West pop cultural excess and spiritual depth in his video Painting with history in a room filled with people with funny names 3, 2015, and David Raymond Conroy's new video commission questioning the ethics of artist as tourist, created following time spent in Las Vegas as part of Zabludowicz Collection's inaugural residency programme in November / December 2015.

2006 Isaac Delgado Fine Arts Gallery, New Orleans, «Women With Guns» 2005 South East Center for Contemporary Art, Winston - Salem, NC, «Homegrown: Southeast» Alexandria Museum of Art, Alexandria, LA, «Hanging Ten» NOCCA / Riverfront Galleries, New Orleans, LA, «Surface Treatment» 2004 Contemporary Arts Center, New Orleans, LA, «Bird Space» (Traveling Exhibition) 2001 Galerie Simonne Stern, New Orleans, LA «Paintings: Bechet, Garisco, Zeringue» 2000 The New Orleans Center for the Creative Arts, New Orleans, LA, «Personal Mysteries: Ten Women Artists» 1999 Society Internationale des Beaux - Arts, Paris, France, «Louisiana Artists» 1999 Galerie Simonne Stern, New Orleans, LA, «Self Images» 1998 Galerie Simonne Stern, New Orleans, LA, «Still Sixteen, Still Life» 1997 Hanson Gallery, New Orleans, LA, «Sheroes,» presented by the National Organization for Women Galerie Simonne Stern, New Orleans, LA, «Drawing Invitational» van de Griff Gallery, Santa Fe, NM, «Realm Knows No Bounds,» invitational.

At that time Kounellis was still a student and painted signs from the cityscape and road signs: hanging fabrics directly on the walls of his apartment, he created a fragmented and personal alphabet made of letters, arrows and other symbols that mark and create the pictorial space.

Reveling in the suburban panic punctuated by an hysterical self - help culture, compulsion toward decoration, and docudramatic tragedy, Josh Faught's current work uses elements of textiles, collage, sculpture, and painting to triangulate between a space that negotiates the history of textiles, a social / political history, and personal history.

His works are extremely intuitive and often address the idea of failure and the push / pull of painting an inventive space that also relates directly to his own personal history.

Focusing primarily on solo presentations of artists, as in one artist per space, the show is well - curated with more than one canny juxtaposition (two personal favorites were Leigh Ledare's 16 mm film Vokzal [2016] of the public around three Moscow train stations with John Divola's elegant «Abandoned Paintings» [2007 — 8] photos, which feature recuperated discarded student paintings in derelict domestic settings, and Henry Taylor's big brushy paintings of black communities next to Deana Lawson's elaborately staged, intimate portraits of black sPaintings» [2007 — 8] photos, which feature recuperated discarded student paintings in derelict domestic settings, and Henry Taylor's big brushy paintings of black communities next to Deana Lawson's elaborately staged, intimate portraits of black spaintings in derelict domestic settings, and Henry Taylor's big brushy paintings of black communities next to Deana Lawson's elaborately staged, intimate portraits of black spaintings of black communities next to Deana Lawson's elaborately staged, intimate portraits of black subjects).

Born 1982, Auckland, New Zealand Education 2009 Meisterschule, Städelschule HFBK, Frankfurt am Main 2005 BFA, Elam School of Fine Arts, University of Auckland Solo exhibitions 2018 «Games of Decentralized Life» Galerie Buchholz, Cologne 2018 «The Founder's Paradox», MOCA Museum of Contemporary Art, Cleveland 2017 «The Founder's Paradox», Michael Lett, Auckland 2017 «The Founder's Paradox», Michael Lett, Auckland 2017 «Shenzhen Entrepreneurial Form», Fine Arts, Sydney 2017 «FaaS — Feedback as a Service: Reflecting on messaging, debate and criticality inside a parliamentary discussion on internet governance», Bozar, Brussels 2017 «Simon Denny: Real Mass Entrepreneurship», C2 Space, OCT - LOFT, OCAT Shenzhen 2017 «Hammer Projects: Simon Denny», Hammer Museum, Los Angeles 2016 «Secret Power», Museum of New Zealand Te Papa Tongarewa, Wellington 2016 «Blockchain Future States», Petzel Gallery, New York 2016 «Business Insider», WIELS, Brussels 2015 «Products for Organising», Serpentine Sackler Gallery, London 2015 «Secret Power», New Zealand Pavilion, 56th Venice Biennale 2015 «The Innovator's Dilemma», MoMA PS1, New York 2014 «The Personal Effects of Kim Dotcom», Adam Art Gallery, Victoria University, Wellington 2014 «New Management», Portikus, Frankfurt am Main 2014 «The Personal Effects of Kim Dotcom», Firstsite, Colchester 2014 «TEDxVaduz redux», T293, Rome 2014 «Disruptive Berlin», Galerie Buchholz, Berlin 2013 «The Personal Effects of Kim Dotcom», mumok, Wien 2013 «All You Need is Data — The DLD 2012 Conference REDUX rerun», Petzel Gallery, New York 2013 «All You Need is Data — The DLD 2012 Conference REDUX», Kunstverein München 2012 «Full Participation», Aspen Art Museum, Aspen 2012 «Envisaging Vocational Rehabilitation» (with Joanna Fadyl), Westfälischer Kunstverein, Münster 2011 «Corporate Video Decisions», Friedrich Petzel Gallery 2011 «Corporate Video Decisions», Michael Lett, Auckland 2011 «Cruise Line», NAK Neuer Aachener Kunstverein, Aachen 2011 «Chronic Expectation: CFS / ME Documentary Restoration», T293, Rome 2011 «7 Unreachable Elevators», IMO, Copenhagen 2010 «Negative Headroom: the broadcast signal intrusion incident», Contemporary Art Museum, St. Louis 2010 «Negative Headroom: the broadcast signal intrusion incident», Halle Für Kunst, Lüneburg 2010 «Remote Tutorial: hate poems for travelers», Landings Project Space, Vestfossen 2010 «Introductory logic tutorial video», Artspace, Sydney 2009 «Celebrities» houses at night: a projection», Standard Oslo, Oslo 2009 «Starting from behind», Michael Lett, Auckland 2009 «Deep Sea Vaudeo», Galerie Daniel Buchholz, Cologne 2009 «Watching Videos Dry», T293, Naples 2009 «7 Drunken Videos `, Luettgenmeijer, Berlin 2008 «Aquarium Paintings (with Nick Austin)», Center, Berlin 2008 «Ruined by Sheer Confidence», Caribic Residency, Frankfurt am Main 2008 «Alexandra Bircken / Simon Denny», Ursula Blickle Stiftung, Kraichtal 2008 «Recent Haircuts», Uplands Gallery, Melbourne 2008 «Recent Haircuts», Gambia Castle, Auckland 2007 «Compression Club», Michael Lett, Auckland 2007 «Monthly Cowards», Gambia Castle, Auckland 2007 «Paltry Motion», Dunedin Pubic Art Gallery, Dunedin 2006 «Old Entertainment System», Window, Auckland 2006 «Scape», Art & Industry Biennial, Christchurch 2006 «Old Things», Michael Lett, Auckland 2005» Arranging Sympathies», Volume Series, The Physics Room, Christchurch

His use of space refers strongly to the formalists concern for edge but go beyond that in the regard for image — the content therein alluding to a personal mythology of forms which are delivered through a primitive, gestural handling of the paint.

Lowry and the Painting of Modern Life reveals how Lowry developed his structure of the city based on his personal relationship to social space.

His painting practice plays with, meditates on, and explores the conventions and contradictions of pictorial space through gesture, personal allegory and the materiality of paint.

I have a cream kitchen (not white), with double stacked cabinets to the ceiling, pale yellow walls and Juperana Gold counters and faux travertine (heated) floors... I live in a very GRAY city (literally some of the least days of sunshine in the country)-- so for my mental health, I prefer a war, bright palette in my personal (historic, dark tudor) home... where there is tons of medium dark wainscoating throughout all the non-kitchen spaces, with only a little painted woodwork.

A wall of prints and fun pieces lends a personal touch to the space, along with the colourful crockery and brightly painted seating.

Adding personal touches to a space, whether it be personalization through monogramming, flea market rehabs, or just a simple touch of metallic paint to a raw natural element.

The last owner had made some updates and put in a new kitchen, opening it up to create a more open - plan space, but the flat needed a bit of soul, so the owner has made it look more lived - in with personal touches, accessorising with high street finds and adding colour by wallpapering and painting.