Sentences with phrase «practice of painting into»

The works in this exhibition are part of an ongoing series that breaks down the practice of painting into its component parts and fetishizes each one.

John Berens, Abshalom Jac Lahav 532 Gallery Thomas Jaeckel shows two artists who have made a traditional practice of painting into a signature motif.

Not exact matches

Oneida County's housing stock is among the oldest in New York State, and while sturdy and architecturally aesthetic, is covered with lead - based paints requiring specialized knowledge of lead - safe work practices compliant with the Environmental Protection Agency (EPA) regulations that went into effect in 2010.

I developed PTSD in 2008 after two serious medical accidents, and I have been creating drawings, paintings and poetry about my process of recovery.The purpose of this website is to help trauma survivors put effective self - therapy exercises into practice in their daily lives.

By painting a picture of how mobile reading is practiced today and by whom, it offers insights into how mobile technology can be leveraged to better facilitate reading in countries where literacy rates are low, an advance literacy and learning in underserved communities around the world.

I developed PTSD in 2008 after two serious medical accidents, and I have been creating drawings, paintings and poetry about my process of recovery.The purpose of this website is to help trauma survivors put effective self - therapy exercises into practice in their daily lives.

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.

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.

According to Sara Reisman ``... Wojciech Gilewicz» practices is about expanding the scope of painting specifically and art art generally into the realm of daily life, usually public and sometimes private... Gilewicz... questions the very nature of art, dismantling it from the rarified, official spaces of culture to a much wider field that leads to the discovery that life itself as art.»

Louisa Chambers recent practice responds to ongoing research into depiction and visual perception on two dimensional surfaces (more specifically, concentrating on the mediums of drawing, collage and painting).

Through her practice of painting photographs, Harrison takes a medium designed in many ways for multiplicity and converts it into a unique work.

Empowered by all the happenings in her personal life, both good and bad, Eva Hesse poured her inspiration into her artistic work comprised of drawings, paintings, and sculpture, constantly pushing the borders of her own practice and thus moving the whole art movement forward with her.

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

He has neither bought into the paradigm of deskilling nor aligned himself with the widely practiced style of provisional painting.

In this Tuesday Evenings presentation, Bradford is back to share insights into the paintings featured in her FOCUS exhibition, as well as other works and the enduring path of her practice as a devoted painter and longtime member of the New York art community.

York Art Gallery is home to an expansive collection of 1,118 easel paintings that provides a detailed insight into Western European practice.

Carroll Dunham, an important New York — based artist working in painting, drawing, and printmaking, discusses his practice, from coming into his own in the late 1970s to his current contributions as a maker and a writer within the continuum of art.

Bayrle integrates dépendance's renewed venue of two exhibition spaces mirrored architecturally into the constellation of two periods in the artist's practice: The left gallery with works from 1990s and the right gallery with new paintings (all 2015).

Since the 1950s, artist Maria Lassnig has incorporated painting techniques from various art - historical periods into her practice — realism, surrealism, and expressionism alike — in an effort to develop a distinct style of painting that blends figuration with abstraction.

In addition, the original impetus of his grandmother asking him to paint a landscape for her has developed into his current studio practice.

Join artist Polly Apfelbaum and art historian Faye Hirsch in exploring how the printmaking process sparks a spirit of inquiry and experimentation in the studio, and delve into the intersection between printmaking and painting in contemporary practice.

Beginning in the 1980s, Beckley underwent a period of introspection and experimentation, branching into painting and reexamining his practice of sculptural constructions.

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.

Often integrating mixed media materials into her large - scale acrylic - on - canvas paintings, Parsons pushes the formal aspects of her practice just enough to let the luxuriant palette and seemingly, but not simply, whimsical content hold center stage, while proving that she has true skin in the game.

«It's a rare opportunity to peer into the practice of the late artist, whose paintings were prefaced by study drawings and watercolors that are lesser - known but equally beautiful.»

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.

Razvan Boar's new body of work brings his accomplished drawing practice into the realm of painting.

A highly respected art conservator practicing in Roxbury, Connecticut, Yost's experience restoring fine oil paintings from the eighteenth to twentieth centuries has allowed him to translate the techniques of the masters into contemplative landscapes for modern viewers.

Not only is this book an overview of contemporary painting, it is also an enquiry into how we experience its images, what they mean and why the practice remains vital.

He then refocused his practice exclusively to pictorial translations of the same optical ideas into painting and drawing until 2007.

What began with obsessive - compulsive word drawings a decade ago grew into a collaged painting practice — one might call it an image hoarder's bricolage — that incorporated everything from advertisements of amplifiers and actual clearance stickers to Budweiser labels and nightclub wristbands.

In many ways small and mid-sized galleries are where artistic practice is practiced before it stagnates into art work — that is the repetition and reapplication of a method, like Andy Warhol's celebrity prints, Yayoi Kusama's spots or Damien Hirst's spot paintings.

Presenting a translation of the artist's imagination into perceptible experience through a combination of moving image, performance, and painting, Warboys» practice spans across a range of media and, intentionally, she has not settled on one fixed mode of working.

Krasner's will stipulated that the home (where she originally painted) and the studio both be a place of insight into her and Pollock's practices and a broader educational resource for students of modern art in America, and the site now features a study center that includes archives and interviews.

While this aversion to naming and categorization positions her vast and diverse body of sculptures, drawings, paintings and mixed media works into a relational practice that defies the specificities of medium or periodization, it also takes form in the artist's blatant refusal to identify herself or her work as feminist.

His concurrent practices of painting and drawing reflect on specific places and experiences — from the deeply symbolic to the notational — translating sensations and memories into abstract compositions.

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.

Bedford: One major consequence of that survey show, which I think we're only beginning to see bear fruit, is roughly as follows: yes, your career has become more extraordinary; yes, the paintings have become even better, as the pavilion will demonstrate; and yes, you've been able to spread your wings in terms of social practice, but you've also forced a wedge into the history of art that has revealed afresh your genuine predecessors: Norman Lewis, Sam Gilliam, Jack Whitten, Melvin Edwards, Alma Thomas — these people have become differently visible as a consequence of the need among museums and art historians to account for where you came from.

They also squabble over how to photograph the striking scenery and sunsets (projected into the movie at odd moments, the photographs seem like old - master Dutch paintings), hone their depression and fear of illness, discuss the folly of the war in Iraq and watch a group of machos at target practice.

His Surrender Flag with Dollar Skull, or Surrender Flag with Zombie Abstraction, 2015, appears as a sort of battle standard in the face of a whitewashed art market that has embraced a brand of politically neutered, highly salable abstract painting, many of whose trappings Vélez reworks into his own practice — airbrushed lines, torn canvases, messy brushstrokes.

I cut, crumple, shroud, shred, stitch, tar, twist, bind, erase, break, tear, and turn the paintings and sculptures I create, reconfiguring them into works that nod to hidden narratives and begin to reveal unspoken truths about the nature of history,» describes Kaphar his practice in his own words.

Owen reclaims scraps and leftovers of other artist's practices, taking them back into her studio, and rearranges them into new paintings, sculptures, and installation components.

With heavily textured abstract gray monochromes, Richter introduced abstraction into his practice, and he has continued to move freely between figuration and abstraction, producing geometric «Colour Charts», bold, gestural abstractions, and «Photo Paintings» of anything from nudes, flowers, and cars to landscapes, architecture, and scenes from Nazi history.

Through the 1960s, Kuwayama both refined his painting practice and began to explore three - dimensionality, creating painted wood - and - paper floor pieces and incorporating industrial materials into his work to make work that was free from any trace of the artist's hand.

By reducing paintings to mere signs of themselves, McCollum turned the gallery and the museum setting into a kind of theater, highlighting the drama of presenting, displaying, buying and selling, exchanging, photographing, assessing, criticising, choosing, and writing about the works; the object - paintings at the center of the action were purposely rendered moot, in order to turn one's attention to the supplementary devices and social practices that, in the end, bestow the value on the work.

Donald Moffett: The Extravagant Vein, the first comprehensive survey of Donald Moffett's investigations into art history, paint, politics and form, provides the breadth and range of the artist's practice over the past 20 years.

By placing these works alongside prints by Peter Doig, with their haunting and mysterious evocation of place, sculptures by Katja Larsson and painting constructions by Ruth Solomons, whose practices are both dependent on the experimental, Digging Deeper not only references links in the intent and the processes between these four artists, it also attempts to offer deeper insights into the seemingly familiar.

Come and See will demonstrate the range of Jake and Dinos's output — from painting, drawing, printmaking and sculpture, to film, music and literature — providing a unique insight into the complexity of their practice and their prolific career.

Munroe's painting practice incorporates elements of assemblage and collage, with composite pieces stitched and glued into a larger whole.

The exhibited self - portraits mark the evolution of Caroll's practice into a means of introspection: «Before diagnosis, I mainly painted portraits of friends, but feelings of alienation encouraged me to produce works that would express the reality of my new life.