Sentences with phrase «practice of painting more»

Based in Los Angeles since the early 1970s, Jackson has expanded the definition and practice of painting more than any other contemporary figure.

Not exact matches

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.

The WELL Building Standard, first released in 2014, outlines more than 100 best practices, from using paints that release minimal levels of potentially toxic compounds to organizing cafeterias so that they prominently display fruit and vegetables.

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.

Some of the funky things you can expect to find in Cairns hostels include; white water rafting practice in the pool, strip naked for an adventure tour, boob painting with your native flag for a bar tab, sumo suit wrestling and many more crazy party antics!

Again drawing on the more traditional elements of design practice, sign painting and hand lettering is still a highly coveted skill, especially in the hospitality industry.

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?

Bonnard's habit of drawing all the time, together with his practice of painting from memory rekindled by drawings made on the spot, allowed him to paint subjects of a more transitory nature than had anyone else.

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.

During this time, Neel maintained her practice of painting political personalities, more specifically African American activists and supporters of the women's movement.

Freud's adherence to realism and focus on the human figure, when abstraction and other progressive forms of practice were more prolific, moved him in and out of the spotlight until the 1980's when renewed international interest in painting and figuration gave his work a new significance.

Like ballroom dancing, painting continues alongside more contemporary practices, and within the (in) discipline of painting representation and abstraction co-exist.

This unique combination of global cultural influences converge in his multi-disciplinary practice of more than a decade since the completion of his Master of Arts degree in painting at The Royal College of Art, London in 1998 and his Bachelor of Fine Arts degree in painting from the School of the Art Institute of Chicago in 1995.

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.

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.

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.

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.

Dine's extensive practice in painting, drawing, sculpting and printmaking has been the subject of more than 300 solo exhibitions around the world, including ten major surveys and retrospectives since 1970.

Armleder's project Olivier Mosset New Paintings was presented to Olivier Mosset almost as a fait accompli, without a doubt because he was not expected to be annoyed, in spite of a practice certainly more relentless, radical, and in Armleder's opinion, more «authentic».

The other half to my practice is probably the more important half which is the process of painting.

Humanitarian and ecological concerns have shaped his artistic practice for more than 20 years, whether narrating the lives of fishermen, collaborating with a hospital surgeon, capturing the light and colour of the River Thames, or travelling to a remote part of Scotland to paint a writer's house.

These new works explore how content is embedded in the formal practice of the painting even more so than in the narrative.

Once landscape painting became a big part of my practice, that's when Gretna and Louis became more important to me.

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).

«Mastry» features more than 70 paintings and is presented with «Kerry James Marshall Selects» a concurrent exhibition of works from the Met collection that have inspired the artist's practice.

Japanese artist Tetsuo Mizù, in his first solo exhibition in Hong Kong at Whitestone Gallery, presents a welcomed deviation from more traditional depictions of the subject with paintings that focus on the storied practice of international maritime flags.

Pastor Friedrich Albrecht, the mission superintendent, recalled the exhibition as revelation for Namatjira, who abandoned pokerwork for the more lucrative practice of landscape painting.

His more recent works, which include print making, painting and installations, still draw on this theme of everyday objects and their changing nature in society and artistic practice, using their pre-defined contextual symbolism as a way to make an audience re-think what we see, and what we know.

Vaguely reminiscent of improvised tools or handmade toys, the Elemental Sculptures emerged as the young artist was transitioning from a practice defined largely by painting and photography to a more experimental mode that would culminate in his Combines, an expansive body of works produced primarily in the mid - and late 1950s that bridged the gaps between painting, sculpture, and collage.

I wonder, in our age of interdisciplinary practice, why more painters aren't freely including both mimetic and non-objective paintings in their exhibitions.

The high quality of Goya's artistic practice inspired Simon to acquire more works by this artist than any other in his collection — nearly 1,400 prints, three paintings and one double - sided drawing.

Sidestepping any didactic elements in her particular style of feminist practice, Steir instead employs an approach to painting that makes metaphoric references to the leaks, seepages and flows of the female body, seeking to draw out allusions to something that is more random, intuitive, and created by chance circumstances.

While his practice has sometimes alluded to the work of other artists, it more often replays / repeats general types and formats of photo - based painting as if appearing to be in conversation with those formats but which, in reality, is more accurately about the construction of appearances.

Traveling widely from her home in Brooklyn, Halvorson's experiential process reaches outside the more common studio - based painting practices of New York City, taking her to train yards in Tennessee, a slaughterhouse in Iceland, and the English countryside.

SEAFOAM is a masterful culmination of Bäst's painting and sculpture, highlighting his unique ability to subvert formalistic practices and more importantly, the public eye.

Fever Within featured more than fifty of Lockett's paintings, sculptures, and assemblages — including works from the High's collection — that embody the stunning evolution of his artistic practice.

Marlene Dumas» practice is two-fold: on one hand conveying politically potent messages that are more often than not critical, and on the other being deeply concerned with the surface, aesthetic potential of paint.

Naturally, the relationship between painting and writing is one of the more vexing ones, but in Schnabel's practice, it takes a very nurturing path.

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.

Stocked with more than 100 of Johns's seminal paintings, sculptures, prints, and drawings, this retrospective sheds light on the innovative materials and techniques, pop images, and themes that frame the six - decade practice of this towering figure in American art.

It will house more than three - hundred paintings and drawings by Bartlett as well as the complete archive of his sketch books, photographs, journals, and other objects related to his artistic practice.

Recently exhibited at David Zwirner in an exhibition of paintings and sculpture called Yayoi Kusama: Give Me Love in 2015, and illustrated in the monograph accompanying the celebrated 2017 exhibition Yayoi Kusama: Infinity Mirrors at the Hirshhorn Museum, the present lot is a testament to the hallmarks of the artist's renowned painting practice, one that is ongoing and ever more relevant.

She nixed the idea of painting the kids to look like famous artwork (a Morandi still life, Picasso's «Weeping Woman,» Ellsworth Kelly's «Falcon,» etc.) and suggested I practice making... read more... «Performance project: Face painting»

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.

Comprising thirty - six works, it spanned more than three decades and focused on the artist's long - standing interrogation of painting via a practice that oscillates between representation and abstraction and locates the medium within an expanded field.

Speaking of his practice at the time of the present work, Richter claims, «I'm more concerned now to have [my paintings] evolve of their own accord.

Purging the sort of nihilistic imagery and motifs that had developed as recognizable trademarks of his practice, the new body of paintings pursues a more poetic sensibility founded in the impressionistic and sensorial.

While I got my formal training at Beverley Street Studio School, I have found the practice of painting frequently, often with the fellowship of like - minded artists, has enabled me to become more comfortable with the medium and approach.»

Beyond the physicality and process of Zammitt's paintings and sculptures, his art making practice is more about color, light and energy, not only from formal perspectives, but to evoke a sense of nature and one's emotions and spirituality.

The resulting exhibition is an incisive snapshot of contemporary practice, spanning diverse media, processes, themes, influences and approaches — from moving image and performance to more traditional approaches to making work such as printmaking, painting and sculpture.