Sentences with phrase «recent experience of painting»

Not exact matches

Exploring concepts of landscape and abstraction with human experience, the exhibition unites sculpture with important recent paintings on aluminium and linen, together with works on paper.

All of my recent paintings together represent a nonlinear narrative about two people experiencing love and the passing of time in the woods.

Donegan's interest in the lived experience of commercial culture continues in this series, which reflects her earlier videos, as well as her paintings and her recent clothing line.

The focal point of the catalogue is the painstakingly reproduced color plates of fourteen recent paintings, many of which are depicted several times in various types of light and from multiple angles, allowing the reader to experience the work in a way that is more akin to seeing them in person.

Recent work incorporates furniture, textiles, jewelry, and found objects as a way to break up the experience of painting as a two - dimensional form.

Opening: «Diana Fonseca Quiñones» at Sean Kelly The first solo show of the Havana - based artist Diana Fonseca Quiñones outside of Cuba, this exhibition features recent paintings, sculptures and video works employing everyday objects and experiences to create poetic narratives that comment on social concerns.

According to a recent piece in T: The New York Times Style Magazine, the artist is experiencing a «London moment,» as she prepares for a major exhibition at the Institute of Contemporary Arts (featuring sculpture, photography, painting, and more) on the heels of debuting costumes and backdrops in a ballet at London's Royal Opera House.

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.

The works build through a stream of images and ideas with a dreamlike, surreal feeling, to which Heffernan contributes by titling each one «Self Portrait...» In her recent paintings, the figure set in a tortured landscape functions as a metaphor for contemporary experience.

As the culmination of their project, and for one night only, see a pop - up exhibition of each painters» recent work and join the conversation as they reflect on their experience as Rebuild's inaugural painting fellows.

Here, Munch showed recent paintings — including The Scream, Madonna and The Vampire — strongly expressive of inner life and experience rather than observation of the physical world.

Other works in the exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.

Born 1987, Gainesville, FL Lives and works in Brooklyn, NY Education 2012 New York Studio School, MFA 2009 Amherst College, BA Selected Solo Exhibitions 2015 Eleanor Ray: Paintings, Steven Harvey Fine Art Projects, New York, NY 2014 Eleanor Ray: Paintings, Steven Harvey Fine Art Projects, New York, NY 2013 Eleanor Ray: Paintings, Steven Harvey Fine Art Projects, New York, NY Selected Group Exhibitions 2016 Fred Reichman with Eleanor Ray, The Landing, Los Angeles, CA 2015 Feast of Planes, Andrews Gallery, College of William and Mary, Williamsburg, VA The Thing Itself, The Center for Contemporary Art, Bedminster, NJ Not in One Day, Rothschild Fine Art, Tel Aviv, Israel Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards, American Academy of Arts and Letters, New York, NY Improvised Showboat # 5, New York, NY Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, New York, NY 2014 Beyond the Pale, Interstate Projects, Brooklyn, NY City as Subject, Westbeth Gallery, New York, NY BRIC Biennial: Volume I, Downtown Edition, BRIC House, Brooklyn, NY Cool and Dark, Comfort Station, Chicago, IL Between Matter and Experience, University of the Arts, Philadelphia, PA 2013 On the Horizon, Adelphi University, Garden City, NY Alumni Exhibition, New York Studio School, New York, NY Dooroomwindow, Steven Harvey Fine Art Projects, New York, NY Gathering Place, No Longer Empty, New York, NY Traces of Omnipresence, 308 at 156 Project Artspace, New York, NY 2012 A.I.R. Gallery's 10th Biennial, A.I.R. Gallery, Brooklyn, NY MFA Thesis Exhibition, New York Studio School, New York, NY Recent Paintings: Eleanor Ray and Jacob Stilley, New York Studio School, New York, NY

If Tanaami was employing distortions redolent of hallucinations in that period, the recent painting on display is a much more psychedelic experience

My recent paintings and sculptures focus on the African - American experience of navigating public spaces while remaining buoyant within them... Working beyond the physical image of the body, objects of buoyancy, and navigation become metaphors for selfhood, resilience, and the sanity required in the turbulent oceans of contemporary America.»

The central theme in recent paintings is the experience of living in a moment of radical inequality, austerity, and accelerated time, set against the powerful pull of older notions of time, craft, and visual pleasure.

Meko states his «recent paintings and sculptures focus on the African American experience of navigating public spaces while remaining buoyant within them» CT

Drawn from the collection of the National Gallery of Victoria, Melbourne, and featuring a number of recent acquisitions, The Kaleidoscopic Turn resonates with references to various artistic legacies of the 20th century from Op art to colourfield painting, offering a range of multi-sensory experiences including immersive installations, kinetic sculptures, video art, works on paper and painting in its diverse and expanded forms.

Funds from the sale of this magnificent work will be used to realize Pace's vision and mandate to realize an arts campus in San Antonio, Texas, the home of the Foundation, that will have as its centerpiece a David Adjaye designed building to exhibit the Foundation's growing collection of over six hundred paintings, sculptures, installation and video works by international contemporary artists, and serve as a destination for contemplation and experience of adventurous artwork from the recent past.

In a statement about her work for a recent exhibtion at Cooper Cole Gallery in Toronto, Luloff wrote: «By painting my close friends and the objects in my studio I have a special moment of intimacy with them... The act of drawing these items, as well as patterns inspired by time spent in India, is a meditation on passing time, on pacifying, and creating a demarcation of my daily experience in the studio.

In my most recent work, I hope to live in the tradition of landscape painting, experiencing it for what it has always been: an occasion for radical experimentation and confrontation with the world, in the broadest sense of the term, that sustains us.

For his recent paintings, Sarabia uses photographic snapshots as a palette to paint larger paintings, obscuring the original subject by the blobs of paint — the final result is a palimpsest of experiences altered, reminding us how the past is shaped over time.

We'd been anticipating Best Ever's debut «official» solo show since first coming across some early examples of their work a couple of years back, and our recent interview with the duo of Neil «Best» Edward and Hadley «Ever» Newman only served to build our desire further to experience their paintings as a body of work within a gallery setting.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

Years of hard work and experimentation by April Street have coalesced in her most recent solo exhibition of four paintings and two sculptural installations titled A Vulgar Proof, after an Elizabethan phrase meaning «a common experience.»

Peter Doig, In his latest exhibition, «No Foreign Lands» at the Montreal Museum of Fine Arts (MBAM) displays his most recent millennial paintings, sketches and etchings based on the culture and his personal experience in Trinidad, where he moved in 2002.

Recent painting work with mixed media attempt to capture the live experience of performing, the performers» inner states and memory of a given performance.

Her experience as a clinical psychologist practicing psychotherapy from a contemporary psychoanalytic perspective for over 25 years reflects an enduring passion and respect for personal idiosyncrasy that characterizes her early portrait work, the more recent and abstract, life - size human figure paintings, and now, her turn to the reservoir of personal experience within.

The current exhibition of recent paintings was inspired by the artist's experiences and explorations of Joshua Tree, Wonder Valley and the Mojave Basin in Southern California.

Complementing this, the gallery space allows for a changing experience of Leapman's paintings with the different conditions of light and space, juxtaposing early and recent works like the differing harmonies that find unity in a single piece of music.

Recent paintings focus on experiences seen and recorded in Ireland, and Maine but also include Pennsylvania water scenes and often views from the beautiful hillsides of Vermont.

Hauser & Wirth's recent exhibition included great, large - scale examples from two of her finest bodies of work: the chromatically slight, but physically robust «Black and White Works» — some white with just a line of black, others black in their entirety, with structured and poetic surfaces; and the «Sarrafos» — white paintings with even more uninflected surfaces to which a black wooden bar has been attached, resulting in a physical and spatial experience.

Brunson says that her recent paintings relate to subjective experiences of meditation.

Three of his more recent paintings depict the severe weather experienced on the coast of southern China, but rather than being immersed in a Romantic J.M.W. Turner thunderstorm, Santoro and his viewers gaze out from a high rise window in Hong Kong.

I got a similar experience with Anne's recent paintings where the whole space of the painting seemed to recede almost infinitely, without losing contact with the surface.

Since then I've experienced several turns of the wheel and recent exhibitions indicate a return to post-painterly abstraction alongside neo «action painting» — everything old is new again...

Recent group exhibitions include Not New Now, Marrakech Biennale 6, Morocco (2016); Black: Color, Material, Concept, The Studio Museum in Harlem, New York (2015); Surface Matters, Edward H. Linde Gallery, Museum of Fine Arts, Boston (2015); Surface Tension, The FLAG Art Foundation, New York (2015); Affecting Presence and the Pursuit of Delicious Experiences, The Menil Collection, Houston (2015); Represent: 200 Years of African American Art, Philadelphia Museum of Art (2015); Witness: Art and Civil Rights in the Sixties, Brooklyn Museum, New York (2014); and A Bigger Splash: Painting after Performance, Tate Modern, London (2012).

Taylor's paintings and sculptures offer a window into the experiences of an avid chronicler, capturing his immediate environments, whether within his studio or recent travels to Haiti, Columbia, Cuba, Ethiopia, and Texas.

And just to be clear, it is certainly not an experience that exists solely in the realm of abstraction, as a number of recent paintings by Sangram Majumdar make evident.