Sentences with phrase «practice of painting far»

And, while painting has certainly been subject to a reappraisal during the last few decades as postmodern theory, conceptual and time - based art practices have challenged the primacy of painting and increasingly advocated for the dematerialization of the traditional art object, the tenets and practice of painting far from disappearing or being weakened by this realignment, have indeed emerged revitalized and re-imagined in the hand of many a creative practioner.

Not exact matches

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.

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.

In this, his seventh solo exhibition at Waddington Galleries, he continues to explore the physical nature of paint, pushing further his practice and its examination of the relationship -LSB-...]

They're heads made of paint on polystyrene, rather in the manner of Glenn Brown's neat reversals of his flat Auerbach - style paintings, but unlike Brown (so far as I know) Schierenberg uses the paint scraped daily from his palette, making them something of a diary of his practice.

Their artistic practice spans diverse media including film, photography, painting, performance, and site - specific projects.Vătămanu and Tudor's broad - reaching practice has positioned them among the most compelling and literate interpreters of our contemporary post-communist condition, which extends far beyond their native Romania.

There is a further peculiarity to this all - embracing profile of current painting practice, and that is a sense that the selection of artists and paintings was a distinctly personal choice.

The purpose of the conversation that took place over email was to further explore how these influences shape what the viewer sees, and to suss out to what capacity his studio practice informs the paintings.

In this way, each artist in Double Vision practices his or her own version of alchemy, transforming yarn, clay or paint into something far more refined, precious and mysterious.

As the practice of painting moves ever further from the confines of the canvas, it continues to pour over into sculptural forms, installation, and new media.

Inclusive of his characteristic abstraction and bold color, the show furthers his practice of combining ordinary substances (such as velcro, spray paint, wood, debris, and staples) into three - dimensional geometric works.

New paintings further Chowdhury's concerns with immersion as a component of creative practice and a desirable though often elusive part of viewing.

Ranging from dissections of Magritte's perspectival framework to analyses of color palette, Mayton's painterly quotations and paintings that also reference the practice of making them veer from overt borrowings to far less obvious, meandering meditations.

Painters like Karen Kilimnik made work stemming from the influence of popular culture, creating cursory celebrity portraits, while Elizabeth Peyton took the practice a step further by painting portraits of celebs, musicians, and European monarchs alongside her significant others and members of her social circle, entrenching mass culture's idolization of celebrity in the realm of fine art while at the same time elevating her friends to celebrity status.

Within Collis practice, everyday objects and surfaces are presented splattered and stained with the marks of wear and tear, and the viewer might, upon further investigation, realise that the timeworn flecks of paint that cover an old broom, are in fact delicate and precisely inlaid pearls, jasper, turquoise, garnets and black diamonds.

From sculpture to painting, to the latest practices in a range of media, Contemporary Art in the United Kingdom provides an insightful examination into the styles, perceptions and culture of the United Kingdom and its art, articulating varied arguments and opinions on the subject that guide the reader in further discussion.

Golden Age features critical texts on abstract painting by Lane Relyea, David Geers, and Gregory Sholette in an attempt to summarize existing conversations about the eternal returns of abstract painting and how to further the impact, agency and relevance of contemporary art practices.

are illustrated in a short film that offers new insights into Pollock and his painting, furthering our understanding of the artist's personality and his pioneering combination of traditional materials and unconventional practices.

In response to this idea, contemporary artists have been breaking away from painting, involving a number of new practices and mediums in their work, further distancing themselves from the confined of «the surface».

In «Nu Painting (Documentary)» the artist reflects upon his digital painting practice from the point of view of a far future, where technological interfaces are no longer nePainting (Documentary)» the artist reflects upon his digital painting practice from the point of view of a far future, where technological interfaces are no longer nepainting practice from the point of view of a far future, where technological interfaces are no longer necessary.

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.

BOOKSHELF To further explore the life and practice of Alma Thomas, consider «Alma W. Thomas: A Retrospective of the Paintings,» published to coincide with a traveling exhibition organized by the Fort Wayne Museum of Art (1998 - 2000).

With technical virtuosity, Glenn Brown's practice copies and modifies reproductions of works of art, imitating the painted surface in a perfect illusion, while being completely devoid of texture and further manipulating the image through variation of colours.

Golden Age is as much an attempt to summarize existing conversations about the eternal returns of abstract painting as it is an incitement to discuss contemporary art practices (above and beyond specific styles, trends or topics), and how we can further their impact, agency and relevance.

Saccoccio's go - for - broke, materials - based practice lands on the far side of the conceptual divide over the efficacy of painting in a wired culture.

While plein air painting goes back further among individuals, it was with the invention of tin paint tubes and the portable «Box Easel» in the 19th century that painting en plein air, or «in the plain air» became the practice of significant numbers of artists.

To further explore the life and practice of Alma Thomas, consider «Alma W. Thomas: A Retrospective of the Paintings» and «A Life in Art: Alma W. Thomas, 1891 - 1978» published to coincide with her earlier surveys.