Sentences with phrase «presenting painting as an object»

Not exact matches

She described compiling a list of round objects — from watermelons to beach balls to basketballs — to paint on her pregnant belly for a series of novelty photos to present to her husband as a gift.

As the overall composition underscores, Quaytman understands paintings not solely as autonomous objects but also as parts of an ensemble that acknowledge the conditions under which they are produced, presented, seen, and circulateAs the overall composition underscores, Quaytman understands paintings not solely as autonomous objects but also as parts of an ensemble that acknowledge the conditions under which they are produced, presented, seen, and circulateas autonomous objects but also as parts of an ensemble that acknowledge the conditions under which they are produced, presented, seen, and circulateas parts of an ensemble that acknowledge the conditions under which they are produced, presented, seen, and circulated.

Pratt Institute's Master of Fine Arts (M.F.A.) program will present «Fleeting Objects,» an exhibition of works of photography, painting, sculpture, and video by 20 second - year M.F.A. students as part of the «College Art Association (CAA) New York Area M.F.A. Exhibition» at Hunter College.

Emma Cousin's painting «Hybrid» is a brilliantly complicated start to the show, as its strong and varied yet complementary palette presents a collage - style composition with elements and angles from identifiable objects and characters.

Meta - narratives, pop and subculture artifacts, religious iconography and a wide breadth of literary references are all present in his multifaceted installations, as well as allusions to art historical antecedents ranging from Basquiat's urban poetry to Sir Howard Hodgkin's abstract paintings as sculptural objects to Jonathan Meese's theatrical symbolism.

Presented as a site specific installation, objects, vessels and instruments, are stationed purposefully around the floor and on altar - like stands in front of opulent paintings.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

Camil specifically channels Frank Stella's Copper Paintings (1960 - 61), a series that presented his first use of tape to create repetitive striped patterns, a mechanical appearance inevitably pointing to the idea of painting as object.

Here, the title of the exhibition is presented again on more spectrum paintings that act as backdrops for the various objects of the installation — its presence acting as the link throughout the show.

As ephemeral as they are translucent, these works present an elusive complexity as the striations of paint, fabric, keepsakes, collected and found objects, and clippings from mass - produced paper media coalesce into collages and assemblages that, taken individually or as a series, are most succinctly described as a multidimensional gestalt.&raquAs ephemeral as they are translucent, these works present an elusive complexity as the striations of paint, fabric, keepsakes, collected and found objects, and clippings from mass - produced paper media coalesce into collages and assemblages that, taken individually or as a series, are most succinctly described as a multidimensional gestalt.&raquas they are translucent, these works present an elusive complexity as the striations of paint, fabric, keepsakes, collected and found objects, and clippings from mass - produced paper media coalesce into collages and assemblages that, taken individually or as a series, are most succinctly described as a multidimensional gestalt.&raquas the striations of paint, fabric, keepsakes, collected and found objects, and clippings from mass - produced paper media coalesce into collages and assemblages that, taken individually or as a series, are most succinctly described as a multidimensional gestalt.&raquas a series, are most succinctly described as a multidimensional gestalt.&raquas a multidimensional gestalt.»

In her own version of the closet, Devon Dikeou presents her artworks from her own collection: Drawings, paintings and objects by artists such as Jeremy Deller, Marcel Dzama, Richard Artschwager, Dan Colen, Tracy Nakayama, Rainer Ganahl, Spencer Finch, and many others.

As much as Rauschenberg's work of the early 1950s had been championed for its elimination of painterly conventions — no subject, no image, no taste, no object, no beauty, no message — Untitled [glossy black painting] makes the case that Rauschenberg was equally radical for what he was willing to let in — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvaAs much as Rauschenberg's work of the early 1950s had been championed for its elimination of painterly conventions — no subject, no image, no taste, no object, no beauty, no message — Untitled [glossy black painting] makes the case that Rauschenberg was equally radical for what he was willing to let in — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvaas Rauschenberg's work of the early 1950s had been championed for its elimination of painterly conventions — no subject, no image, no taste, no object, no beauty, no message — Untitled [glossy black painting] makes the case that Rauschenberg was equally radical for what he was willing to let in — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvas.

Drawn from the Detroit Institute of Arts» superb collection of Dutch art — considered one of the finest and deepest collections outside the Netherlands — this exhibition presents more than 70 paintings by great Dutch masters including Frans Hals, Rembrandt, Jakob van Ruisdael, Pieter de Hooch and Jan Steen, as well as a small selection of related decorative art objects.

Monochromatic and painted on canvas, Jennifer Boysen's most recent works are distinguished primarily by the originality of the structures that serve as their stretchers, objects that she has either found or made, and that present a certain variety in terms of shapes, dimensions, and materials — wood, copper, steel, aluminium.

For this show, Egan presents several oil paintings characterized by rich brushstrokes with subjects ranging from portraits of animals, to still - lifes of objects such as clothing, food, or furniture.

Blain Di Donna presents as its inaugural exhibition, Dangerous Liaisons, a survey of paintings, works on paper and objects by the Belgian Surrealist René Magritte.

Art of Europe features thousands of artworks dating from the Middle Ages to the 20th century and presents, along with decorative art objects and furniture, paintings and sculptures by artists such as Duccio Da Buonisegna, Donatello, Fra Angelico, Botticelli, Titian, Tintoretto, Canaletto, Rembrandt van Rijn, Peter Paul Rubens, Anthony Van Dyck, Diego Velázquez, Francisco de Zurbarán, El Greco, Francisco Goya, William Turner, Pierre - Auguste Renoir, Claude Monet, Paul Gauguin, and Vincent van Gogh.

The resulting exhibition will be an autonomous work presenting paintings and objects (Šille), but also the «painter's perspective» or an opinion (Teren), as well as their communication.

His reductionist paintings present «everyday experience not as objects of reverence but occasions for scrutiny and absurdity» through the use of cheeky text and repeating canvases in array of play - dough colors.

Roman Road is always a sure bet when you are in search of something new and different.For his first solo exhibition Cuban artist Victor Payares, who is currently finishing an MFA at the Royal College of Art, is going to present new works and a site - specific installation that narrates elements of a memory from his youth during the Cuban «Special Period»: «Payares» artistry is further inspired by elements of the everyday; he collects disregarded objects such as cables, clothing labels and trampled glasses found lying in the streets and repurposes them in his paintings.

Archives and objects associated with the site of an exhibition often serve as a bridge between art - historical investigations and current reflections, a process that seems to generate its own version of history and how a painting is situated in the present.

In addition to presenting around seventy paintings, numerous works on paper, and several sculptures, the show displays some fifty previously unexhibited photographs by or of Derain, as well as prints, correspondence, and examples from his collection of Maori and African objects.

A painting that introduces another set of fluctuating conditions, that presents itself as a dynamic object based in the qualitative realm of real - time perception.

More prosaic, commonplace objects appear in Hayley Tompkins's painted works, while both Carol Bove and Wolfgang Tillmans present natural objects — such as shells or vegetables — that are heavily mediated yet that remain unchanged.

More prosaic, commonplace objects appear in Hayley Tompkins painted works, while both Carol Bove and Wolfgang Tillmans present natural objects — such as shells or vegetables — that are heavily mediated yet that remain unchanged.

Pellizzi: They obviously refer to action painting, but the elements that are particular to this project, I think, are the fact that it transposes the action from enacting a painting into the action that is making the object, and the fact that the action is tied up with past and present politics — the politics of the border and our identities as being both Mexican and American, and ----

The artist lived the painting entirely in the present, and the object was left over as an artifact of that event.

The artist presents it at the exhibition as a wall object through which he studies the surface and the way in which we process the procedure of creation and perception of paintings.

Yet, while Made in L.A. appeared as diverse and sprawling as the city whose art it presented, it might also be argued that the bulk of the work on view extended four familiar (and familial) lineages of Los Angeles art that were well represented in «PST»: hard - edge abstraction (represented here in paintings by Brian Sharp and Alex Olson and painterly objects by Lisa Williamson and Brenna Youngblood), found - object assemblage (in the work of Liz Glynn, Ry Rocklen, Henry Taylor, and Erika Vogt, among others), eclectic performance practices (including live pieces by Math Bass, Kenyatta A. C. Hinkle, and Ashley Hunt, as well as the collective Slanguage's array of community - based works at LAXART), and film and video projects that pointed, more or less, to the looming shadow of Hollywood (e.g., Miljohn Ruperto's Seven and Five, 2012, which includes multiple remakes of a 1961 episode of the TV show Alfred Hitchcock Presents, and Dan Finsel's The Space Between You and Me, 2012, for which the artist restaged Farrah Fawcett and Keith Edmier's decade - old roll in the clay).

Further on, Springsteen, a project established in 2013 by Baltimore duo Amelia Szpiech and Hunter Bradley, presents a series of paintings and found - objects by Erika Ceruzzi, along with a selection of robotic sculptures by Colin Foster including one described in a review on Artspace as «a «modified» bug zapper that now works as a sculptural object while still killing bugs».

Where Hammons uses KoolAid to create a painting that isn't really a painting, Wilke uses gum to create sculptural objects that aren't exactly sculpture, and presents them as a picture.

By taking the painting out of the frame, joining separate panels, and inserting the work into a setting that incorporates walls, Kelly presents each painting as an independent object in space.