Sentences with phrase «pictorial references»

Friends and lovers show up repeatedly in pictorial references and in communal art projects, many of which are nicely documented in the exhibition with supplemental video and photographs.

Not only did pictorial references — works featuring installation views of a James Coleman slide show, an X-ray previously exhibited by Isa Genzken of the German artist's own skull — to this subject abound, but the near holographic quality of Quaytman's surfaces rendered these images as if projected.

Not only did pictorial references — works featuring installation views

Westfall's recent paintings have integrated diagonal energies into his well known deconstructions of the grid that have long walked a woozy line between abstraction and pictorial reference.

In his writing he became increasingly interested in purely formal concerns, and he began to develop a discernible critical sympathy for work that created a pure, immediate visual sensation, often at the expense of descriptive or pictorial reference.

Grotjahn is creating paintings without pictorial reference that are yet deeply rooted in the ancestry of the mask as an object of ritual, reflection and analysis of the unconscious.

Not exact matches

Whereas Bazin never mentions Caravaggio in his essay on «The Ontology of the Photographic Image» (1945), the French critic refers to the baroque style as a proto - cinematic and pictorial term of reference: «The film delivers baroque art from its convulsive catalepsy.»

He took first prize in the Reference category for The Dirty Apron Cookbook, and honourable mention in Pictorial for the art book Susan Point.Peter... Read more

But rather than focusing on a specific artist or time period, as in the previous Thiebaud and Early American works, the new series references a pictorial convention within painting as a whole.

Parallel to the development of a pictorial expression inspired by existing visual references, we find in the exhibition several good examples of expressive painterly declarations.

The large - scale panels both occupy and activate the walls on which they hang, expanding the pictorial field of the viewer, creating subtly undulated spatial and perceptual references.

Similarly, in Leaf and Line, vague pictorial plant references are placed among undulating free forms of shapes and color and all set against a dramatic expanse of yellow in the upper quadrant.

In 1974, in reference to a New York gallery show by Judy Rifka, Jeremy Gilbert - Rolfe wrote that the artist addressed «the question most crucial to painting in general at the present time: the question as to how far the — currently compromised — abstract «depth» of pictorial space can be newly considered — retrieved — through attention to the material basis of the conventions on which that experience of «depth» relies.»

Although, for example, Gobba, zoppa e collotorto, from the Cones and Pillars series (1985), directly references the impact of Caravaggio on his resolve to create and radiate outward an expanding pictorial space, it illustrates «cones», «posts» and «outward» — but not Caravaggio.

Fleeting references intertwine to form both microscopic and macroscopic abstract pictorial landscapes.

Motifs from Western and Eastern pictorial traditions are regularly referenced in his works, and we often find visual references to Medieval and Renaissance paintings.

Beyond his local and often urban focus, the California - born artist's tight pictorial arrangements, lyrical use of colour and smart incorporations of text reveal a deep awareness of art history, stirring up references from Goya to Matisse, German Expressionism to Jean - Michel Basquiat.

In these paintings, images are often cropped and lack a specific point of spatial reference, such as a horizon line, thus inviting a contemplative experience and generating the feeling of immersion in Katz's open - ended pictorial space.

This exhibition highlights Diana Al - Hadid's unique exploration of art historical references to examine sculptural and pictorial space and convey a world turned upside - down.

The work, it turned out was in direct reference to a 1650 Diego Velasquez painting of «Pope Innocent, X.» A virtual thread now connected two works of art some 350 + years apart, each created using the pictorial language and techniques prevalent and relevant to their times.

The images also reference the pictorial display of wealth and status in The Arnolfini Portrait by Jan Van Eyck and Mr & Mrs Andrews by Thomas Gainsborough.

While stylistic references include turn - of - the - century Nordic figurative painting, folk art, and local or contemporary vernacular, her evocative use of pictorial space and her juxtapositions of thick paint and textured washes is uniquely her own.

Estes Lost Horizons series gives pictorial form to vanishing natural domains and references Frank Capra's 1937 film of the same name.

The paintings are both complex and multilayered, emotive pictorial palimpsests regarding his use of superimposed sources, which carry an iconographic set of references.

In the years before the mid-1980s art market boom, Schnabel forged a pictorial language that embraced unconventional methods and materials with a visceral effect; he introduced to the American contemporary art scene a particularly European post-war sensibility through his admiration for Francis Picabia and his personal artistic dialogue with Sigmar Polke and Blinky Palermo; and he broke with the prevailing conceptualism through figuration, personal narratives and references to history and mythology.

As reference and inspiration for her paintings, she draws on an extensive pictorial archive containing private Polaroid prints, media images, pictures from magazines, as well as film stills.

This exhibition highlights Diana Al - Hadid's unique exploration of art historical references to examine sculptural and pictorial space and convey a world turned upside down.

Finally, Yorgos Sapountzis works with pictorial prints on cloth, which, similarly to his videos, reference the traditional depiction of bodies.

While stylistic references include turn of - the - century Nordic figurative painting, folk art, and local or contemporary vernacular, her evocative use of pictorial space and her juxtapositions of thick paint and textured washes is uniquely her own.

Elements of popular cultural references, anarchic messages and clever pictorial censorship play out on the walls of Delahunty Fine Art's new Mayfair premises in London.

This latest body of work consists of 10 five - sided, three - dimensional assemblages, each referencing various pictorial interpretations of the Garden of Eden, a subject matter endeavored by artists throughout the history of art.

Similar ornamental motifs are deployed in a several entirely abstract meditations, Crescent Totem, and in two works (Observatory and Muscorum) that revisit the Artificial Paradise series of 2008, a title that references the dark, refined sensuality of Charles Baudelaire and the new frontiers of poetical and pictorial space explored in his writings.

She often uses subtle references to the cultures and traditions she was exposed to growing up: calligraphy, manga and the flatness of the Japanese pictorial plane contrasted with the gravitas of twentieth century Western modernism.

Referencing these artists and other contemporary images in their entirety or by isolating specific elements, her paintings follow an iterative process of drawing and re-drawing, as an exercise in internalizing pictorial systems.

This recent series titled, «Mandala for Crusoe», brings together fourteen paintings developing Clemente's singular pictorial language, gathering together myriad cultural references and merging timeless symbols, iconic imagery and philosophies.

For this «545 Days» exhibition, Robert Proch has continued with his research into the fragmentation of space, taking a pictorial approach that is all his own, halfway between abstraction and figuration, to the point of shattering all our cognitive reference points and igniting our imagination.

Her ambivalent pictorial language can not be deciphered on a linear path, since in her colorful shining paintings, out of nonrepresentational elements, narrative references suddenly emerge.

Thus was «Pittura Analitica» born 1974, identifying an exclusive number of European painters who worked on a limited number of themes: the creative process, the operative method, the choice of materials, the role of the spectator, the absence of autobiography, the lack of references to any pictorial tradition, the importance of seriality.

Color now carried independent content, along with basic geometric forms, which became free from all iconographic reference and are meaningfully valid as elements of the pictorial composition.

Rather, these are studio creations, more indebted to American Modernist landscape paintings than Mother Nature... Referencing the pictorial language of late - 19th and early - 20th century landscape painting might seem a convoluted way to create imagery that purports to be urgently personal.

Each bore clear references to his own pictorial history.

These elegant, graphic, surrealist pictorials combine narrative references with geometric abstraction.

«Artists in both South and North America worked with a pictorial and sculptural vocabulary of simplified shapes that make little or no reference to the natural world.

Many of the pictorial works in the exhibition reference photographic images rather than direct reality, thereby drawing attention to a multilayered process of representation.

The artist has created a series of small ceramic sculptures, which reference her main pictorial subjects.

Her works are often derivative of her own encounters with natural phenomena, referencing traditional Chinese landscape painting's push of the pictorial frame into the surrounding environment.»

It unfolds in three parts: the first is arranged around DOB, a character invented by the artist and considered to be his alter ego; the second around a pictorial fresco which references the story of the «EIGHT IMMORTALS» of the Taoist religion; completing the display is a «KAWAII» space of sculptures and animated films.

«Against Nature» makes reference to the artists» irreverent use of materials and pictorial techniques, and treatment of the picture as an object.

Navigating different references, Patricia Leite gives an outlet to her memories and latent affections through an extremely peculiar pictorial exercise.

Her reference to painting is solely to use the canvas as support for the visualization of a pictorial idea.