Sentences with phrase «practice of painting as»

As far as one can see when looking at your work or at the development of your work, it's very much involved with the practice of painting as an ongoing activity.

Maintaining gestural painting's relevance in contemporary culture while also rooting its chief sources of inspiration from within the Western canon is a Herculean task, particularly as the very practice of painting as a discipline continues to erode within the art market, art schools, and public art institutions like museums.

African - American artist Kehinde Wiley talks about the practice of painting as a conceptual tool to e...

'' A painting must always move beyond its subject,» says British painter Michael Simpson, who sees the practice of painting as» giving form to an idea.»

Not exact matches

But if the practices and homes of devout Mormons like the Romneys — not to mention his history as governor of Massachusetts — are any indication, we can begin to paint a picture of what a Romney - inhabited White House might look like.

He then provides a fascinating account of how painters such as Hals and Turner discovered through the practice of their painting color discriminations that established standards of excellence that make impossible relativistic judgments.

As a practicing Popsiclebyterian, I have to object to the use of the Holy Tongue Depressor with a naked guy painted on it for this sacrilegious art show.

I have drawers and boxes full of cutouts from some old watercolours and practice linocut prints that I've used as stencils, masks or collage in other paintings, for example.

My first idea was to print the spots on using a cotton reel — but after a practise on some card — J needs a little more printing practice before we can print circles on as he instead loved to paint with the cotton reel instead of printing which was so much fun — but that is a completely different post.

We created poppies using materials from recycle bin like cellophane paper and egg cartons, combining a bit of painting, crafting and fine motor practice as kids put them together.

The pigment palette used was consistent with that used by Velazquez and his contemporaries in 17th century Seville, she said, as was the material combination practices like the use of certain pigments together and the use of paint to create volume on the paintings.

Maybe, just maybe, the more you practice mindful eating, the more your awareness will begin to expand as you recognize the restorative beauty in the food you eat, then in things happening all around you such as the birds chirping, children laughing, and the brilliant shades of pink and orange painting the night sky.

It was in this beautiful ashram where she studied the painting of planetary yantras and since then has developed this as a practice of personal meditation.

Thanks Laura:) I have had a bit of practice working on fabric as years and years ago I painted jean jackets and jeans and sold them.

i was trained as an optometrist, but became so interested in painting that i only practice being an eye doc one or two days a week, now - and spend the rest of the time at the easel.

But Assayas also refers specifically to Hilma af Klint (1862 - 1944), a recently rediscovered Swedish pioneer of abstract art who claimed that her paintings were directly dictated by spirit forces, and to 19th - century French literary titan Victor Hugo, who practiced «table turning» sessions to contact the dead (Assayas fabricates an «extract» from an apocryphal French TV film of the 1960s, featuring actor - singer Benjamin Biolay as a solemn Hugo).

«Oddball» is a decidely anachronistic presence as the leader of a tank outfit of pre-Beat, pre - «free love» hippies; they practice psychological warfare by playing music in battle and shooting paint out of their tanks.

Her background includes: BA: fine art painting (1995), teacher: secondary (1997 — 1999) MA in ceramics (2000) practice - led PhD examining phenomenology as a mode of aesthetic analysis (2004).

View works by contemporary Ubudian artists as well as traditional schools of art such as Batuan — practiced by Brahman artists — and Sanur, which features highly stylized paintings of sea creatures and other animals.

For some, the idea of in - game purchases of a random nature is dangerous, and the practice has been condemned as such, essentially describing loot boxes as gambling with a fresh coat of paint.

I don't know what's «industry standard practice» for fine art galleries these days, regarding pricing works on paper vs. works on canvas, but my suspicion is that the reason for the * historical * difference between the two is that works on paper are perceived to be less «serious» (after all, watercolor started out as a quick way for oil painters to sketch out drafts), and less long - lasting (historically, a lot of watercolors were fugitive, and tended to fade with time, unlike varnished oil paintings).

There are faces, but they are depicted in ways that seem to cancel themselves out: a quick, semi-abstract mark, furtive smudges of paint, a collaged face cut out from another painting... Certainly these works present an accomplished artist asking questions about her own practice, questions such as: How can I paint the body in a more immediate way?

Green and Winters discuss «The evolution of [Winters»] palette over the years and how he comes to color» as well as the «importance of printmaking to his overall practice, and how his intense, career - long focus on that medium informs the way he makes paintings.»

MB: As I mentioned before, I believe that painting is more connected with archaeology, and this is certainly true of my practice, which deals with time and space.

Mickalene Thomas, known for her large - scale, multi-textured, and rhinestone - encrusted paintings of domestic interiors and portraits, has also identified the photographic image as a defining touchstone for her practice.

Shahzia Sikander is a Pakistani - born international artist whose pioneering practice takes Indo - Persian miniature painting as a point of departure while experimenting with scale and media, including animation, video, and mural.

As Richter explained, «landscapes... show my yearning... But though these pictures are motivated by the dream of classical Order and a pristine world — by nostalgia, in other words — the anachronism in them takes on a subversive and contemporary quality» (Gerhard Richter, «Notes 1981», The Daily Practice of Painting, London, 1995, p. 98).

Because of the mass appeal of Hockney's Royal Academy Exhibition, the iPad paintings have unfortunately been branded by popular criticism and media as the epitome of contemporary art practice, fuelling the delusions of those who unwittingly consider landscape painting to be one of the few modes of visual art.

Another painter based in L.A., Lecia Dole - Recio earnestly focused on the importance of Jasper Johns's catenary works to her practice and the related process by which she constructs her «queer formalist» paintings, as she describes them.

Susan Daniel - McElroy - Art Now Cornwall Tate St Ives 2007 The pristine surfaces of these architectonic paintings bear the hallmarks of American post - Abstraction and conceptual practice as they nod in the direction of Barnett Newman and >> >>

Going beyond the practice of artists such as Picasso or Pollock, who utilized the formal aspects of non-Western artworks in their painting, Green has extensively studied the thought and methodology behind Aboriginal art - making.

Katz was first exposed to the notion of plein air painting at Skowhegan, which would prove pivotal in his development as a painter and remains a staple of his practices today.

Whilst taking Neel's work as a point of reference, the exhibition aims to open up possibilities for reading figuration and portraiture in contemporary painting, to assert the continued relevance of these modes of practice, and to re-consider Neel's work in relation to artists working today.

Shahzia Sikander is a Pakistani - born artist whose pioneering practice takes Indo - Persian miniature painting as a point of departure and experiments with scale and media, including animation, video, and mural.

Obering's art practice began to converge with the parts of her life that appeared as dreamy diversions, or even interruptions, from making paintings.

Whereas Martin operated largely within the confines of painting and drawing, Tuttle's practice eludes formal categorization and is grounded in handmade constructions of ordinary materials, such as wire, tape, thread, and cardboard that are raised to the pinnacle of beauty.

Drawing on his own experiences and also referencing broader global issues, his diverse practice spanned assemblage works composed of found objects such as metal, stuffed animals, discarded clothing, rope and electrical wire, and dramatically textured paintings, as well as muted neo-expressionist works on paper executed in pastels, charcoal and watercolor.

Serving as an overdue affirmation of Hoyland's significance within the field of abstraction, they provide fascinating new insights into the artist's practice, and through it, the object of painting itself.

While early practitioners such as Robert Mangold embraced a minimal sensibility, the next generation of artists such as Elizabeth Murray and Ralph Humphrey further evolved the practice; Murray's canvases are explosive and energetic, and Humphrey's paintings are tactile, with thick and textured surfaces.

The Palazzo Ducale in Mantova hosts Michelangelo Pistoletto's exhibition «Da Cittadellarte alla Civiltà dell» Arte», which explores the full range of the artist's practice over the past 60 years, from the first self - portraits, through to his celebrated mirror paintings, as well as his ongoing Terzo Paradiso project.

However, discussing Dalwood's more recent work illuminated his practice as a whole, helping me to figure «Burroughs in Tangier» into a much broader understanding of the artist's paintings.

Grau's work is grounded in the history of plein air painting, an in - situ practice of landscape painting based on direct observation that was initiated by artists such as Claude Monet, Pierre - Auguste Renoir, and Camille Pissarro in the latter half of the nineteenth century.

The major group exhibition Believe not every spirit, but try the spirits takes as its departure point the art of forgotten Victorian - era Spiritualist Georgiana Houghton (1814 - 1884), and features contemporary and historical painting, sculpture, video and photography that both explore and adopt Spiritualist practices and methodologies.

Many artists have taken a «provisional» stance, while others are producing highly finished work that so blurs the line between two and three - dimensional practice that categories of media such as painting and sculpture become all but useless.

The category of painting is examined more generally in the wood panels on top of the pedestals: straddling the line between abstraction and representation, they offer painting as both an object within sculpture as well as a discrete project central to the artistʼs studio practice.

Known for her monumental, rhinestone - encrusted paintings of domestic interiors and female subjects, Thomas identifies photography as playing a central role within her practice.

The format of Rythm Mastr, whether as an animated feature, graphic novel, or multi-panel sequence on newsprint, may feel like a departure from Marshall's painting practice, more tethered to pop culture than the high - brow arena where the artist's large - scale works fetch seven figures.

The fidelity of these paintings can therefore be best understood, perhaps, as a product of a particular situation, when a significant body of contemporary artistic practice was orientated to accurate observation, as opposed to the ideal.

If painting as a practice is viewed with far more skepticism today, the sense of conversation evoked by the works on this wall — and in a smaller room off the main gallery, which is also filled with the art of Schloss's friends and acquaintances — rings eerily familiar.

As the contemporary practice of painting continues to expand exponentially, with many artists becoming less concerned with the physical medium of paint itself, Cain's practice — a combination of control, happenstance, and environmental information — is made unique through its reliance on space and the structural conditions of the locations in which her work is exhibited.