Sentences with phrase «relative value of each painting»

I am not meant to consider the relative value of each painting, but to understand every act as affirming itself and itself only.

Not exact matches

There is the tangible (a cheap set of assets, easily measured), and the intangible — artistic expression, whether in painting, music, acting, etc. (where values are not only relative, but contradictory — except perhaps for Keynes» beauty contest).

Increasing valuation dispersion around the globe has opened up many great opportunities for the patient value investor, the mirror image — tumbling popularity, tumbling relative valuations, and tumbling historical returns — of the picture painted by low beta.

Min's paintings turn on the interactions and relationships between different areas of color, their relative value and transparency, and the moods these colors engender.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.

Each painting in this exhibition began as an investigation into color's three distinct attributes: hue (a single, pure color), value (the lightness or darkness of a color), and saturation (the relative purity or intensity of a color).»