Sentences with phrase «practice of painting through»

Not exact matches

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.

It made a huge comeback, along with painting, music, liberal arts, during the Renaissance when the invention of the printing press popularized the practice through the spread of almanacs.

Corwin writes: «In the tradition of Klein and Dubuffet, Strobert chooses to site her artistic practice within the confines of painting, while literally doing everything she can to reconfigure that discipline through a re-orientation of mediums and with an expressionistic yet pragmatic eye... Strobert's painting isn't abstract painting but the abstraction of painting.

Through the daily practice of painting he is able to relate quotidien activity with wider concerns about the world.

Murillo's huge and physically enveloping canvases (seen at Art Basel 20135), echo familiar threads through contemporary fine art painting practice — the energetic gestures and scribblings of Cy Twombly, the haptic scruffs and mixing of materials of Antoni Tàpies and Anselm Kiefer, the calling out (in script) of Colin McCahon6 and the drawing, foodstuffs and performances of Joseph Beuys and William Pope.L.7

The conversation will focus on their individual artistic practices, the personal and cultural context that led them to their art, how they each express themselves through paint, and how they identify their place within the lineage of Latino painters.

Using the visual language of mythological depictions of wrestling, mined from art historical sources and his own memory, these paintings propose new through lines in Dunham's practice that are both formal and autobiographical in nature.

Through the friendship and careers of the trio of artists — all who live and work in The Hamptons — the exhibition explored paintings made and the intersections and divergences of each of their art practices during this time period.

Mickalene Thomas Thomas's practice primarily focuses on powerful portraits of black women realized through photography and enormous embellished mixed - media paintings.

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.

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.

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.

Here, Sanchez discusses the development of his artistic practice, interweaving the personal and political through photography, painting, printmaking, collage, and video.

Through paintings, drawings, sculptures, installations and documentation, the exhibition will trace the development of Ibrahim's practice and its enduring influence on contemporary art in the UAE.

His practice involves an exploration of the significance and circulation of images and cultural artefacts through painting and curating.

Steir's practice embraces chance as a conceptual backbone for her work; the paintings form themselves through gravity and transform their own palette through the chemistry of the paint layers.

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

Over and over again in the catalog, we read about Ligon's love for painting — de Kooning's Pirate (Untitled II)(1981) is a favorite, apparently — and how he, um, «opened up the semantic rules of identity and linguistic constructions between object - text and image - sign relations through the use of photography and text based on the appropriation of language, sign, text, and speech as material for his painting practice.»

Through her practice she seeks to understand objects in the world through an examination of the mimetic quality of paint and paThrough her practice she seeks to understand objects in the world through an examination of the mimetic quality of paint and pathrough an examination of the mimetic quality of paint and painting.

His practice demonstrates the narrative potential of images through the intersection of painting and photography.

That experience was pivotal in his development as an artist, and landscape painting has remained a fundamental aspect of his practice through subsequent decades.

Chronicling an abstract personal account of his relationships, studio practice, and his sense of history through a spectrum of techniques, New York - based artist Richard Aldrich has in recent years placed himself at the forefront of a new approach to the medium that re-thinks how a painting is made, how it is experienced, and ultimately what it all means.

Chicago - based painter Andrew Holmquist thinks and works through multiple mediums to reflect — not only on the act of painting and its central position in his practice, but also the (primarily male) body moving through space.

Her practice fuses together disparate ideas like the glossy advertising of high fashion brands and an expressionistic painting technique filtered through the gauze of her life in Los Angeles.

The artist's personal, ambulatory studies of cities form the basis for his practice, through which he compiles extensive documentation that reflects his process, producing complex and diverse bodies of work that include video, painting, performance, drawing, and photography.

Her practice encompasses a wide range of supports — including painting, video, sculpture, photography and installation — , through which she investigates certain power structures that underlie social and economic ties.

David Richard Contemporary is pleased to present Elusive Transparencies, a retrospective exhibition of paintings by Julian Stanczak focused exclusively on his illusory «see - through» abstractions, which have been at the core of his art - making practice for the past five decades.

The exhibition «Dear Painter,» at Sundaram Tagore Gallery in Singapore, took the occasion of the nation's 50th anniversary to survey local art practices through the medium of painting.

Painting, sculpture and photography collide with video installation in this healthy mix of practices, thematically linked by the collective experiences of our surroundings expressed through a variety of media.

The three exhibitions, Tacita Dean: Landscape, Portrait, Still Life, shaped by Dean's response to the individual character of each institution, will explore genres traditionally associated with painting — landscape at the Royal Academy of Arts, portraiture at the National Portrait Gallery and still life at the National Gallery — seen through the contemporary prism of Dean's wide - ranging artistic practice.

Working across painting, installation and public intervention, Zumbé's practice is expressed through a manipulation of space composed through layers of material and simultaneous perspectives.

[1] To that end, this exhibition explores the expanded field of painting through a wide range of works in a variety of media (i.e., installation, video, sculpture, and painting) that provide fertile territory for examining the legacy and meaning of painting and painterly practices in contemporary art today.

Many of these artists, like Susan Rothenberg and Julian Schnabel, would continue the practice through to the 21st century, making the Guston-esque play between abstraction and wonky depiction one of the few active threads of serious painting to survive today.

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.

Pendleton's conceptual practice engages with language, abstraction, and identity through a wide range of media, including painting, sculpture, printmaking, writing, film and performance, among others.

Holyhead's practice is abstract painting and the presentation of his watercolour drawings in this show provides a kind of language through which he explores what seem to be compositional and colour strategies for the larger works on canvas.

Known for his large - scale painting interventions based on vibrantly patterned Taiwanese textiles, Lin's practice has been hailed as a new approach to contemporary art and the museum through the creation of immersive and experiential environments.

Through a wide variety of media including installation, assemblage, sculpture, video and painting, Michael Linares» practice consistently raises the possibility of new relationships between objects and signification.

Rooted in classical Indo - Persian miniature portraiture painting, Shahzia Sikander's artistic practice expands the strict formal tropes of the genre through experimenting with scale and new media.

In her second solo show with Cherry and Martin, titled «The Studio, The Sketch,» Cowan allows her diverse artistic practice to carry essential questions through the mediums of sun - sensitive paints, wood sculpture, ceramics, textiles, and watercolors.

Walking through the galleries, Marshall narrated the arc of his contemporary art practice through the paintings he has completed over the past 35 years.

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.

The exhibition follows Pollock's practice through a selection of these drip paintings made between 1947 and 1950 to his late blind spots, demonstrating a radical juxtaposition between two distinct periods within his work.

Since the 1970s, Chicago - based artist Barbara Kasten (born 1936) has developed her expansive practice of photography through the lens of many disciplines, including sculpture, painting, theater, textile and installation.

The reinvestigation of painting that Dadson endures shines through his practice and the work he completed for this exhibition.

Within his practice Todd explores the spatial construction of paintings and their material properties through combining drawing and painting materials — including acrylic paint, gesso, ink, pencil and varnish — through a multi-layered approach.

Toru Kuwakubo started his artistic practice with a theatrical approach, finding the figure of an imaginary painter within himself as a means to explore contemporary art through the medium of painting.

Anselm Kiefer (b. 1945) is perhaps best known for majestic paintings from the 1980s and early 1990s that evoked Germany's contested history through charred landscapes and mythic symbolism.This exhibition, drawn from the Manilow collection, used a few choice works to call attention to other aspects of Kiefer's practice.

Their practice consists of artwork that examines the nature of the object via the use of shadows and the recording of bodily actions and static objects through video, paint, sculptural elements and charcoal media.

To understand the richness of Georgia O'Keeffe's artistic practice, this exhibition reveals her disciplined drawing practice, dramatic color palette, and innovative sense for composition through paintings and drawings that span her career.