Sentences with phrase «scale abstraction through»

Since the advent of Abstract Expressionism followed by Post-painterly Abstraction in the mid-twentieth century, painters and other artists have been liberated to explore large - scale abstraction through expressive gestures, geometric forms, biomorphic shapes, minimal palettes, or new materials.

Not exact matches

«Other than being painting made recently, the work has no common denominator, outside of perhaps generalities of abstraction or a certain sense of scale, although many of the works have bits of the real world peeking through.

The pairing also highlights the different ways of representing the sublimity of the surrounding world, whether through a large representational closeup of an immense wave, or by way of the small - scale, quiet abstraction of a deep blue rectangle framed by fields of white.

To be standing at this particular intersection of art and technology, science and instant photography, bringing new ideas, new nomenclature, new picture signs to our global photographic culture, it had to be me, through this machine, to talk about abstraction and minimalism, size and scale, color and non-color, form with feelings.

Each of them articulates a minimalist aesthetic through abstraction, repetition or interruptions in surface and structure, foregrounding the intention, scale and execution of their gestures as both subjects for their work and as performative records of transient actions or incomplete thoughts.

I start with a familiar object, and through shifts in scale, materials and context lead to varying levels of abstraction.

Andrew Brischler's next solo show with Gavlak Gallery is in November 2013 with several new large scale pieces all exploring notions of futility, shame, and loss through abstraction.

Yet here the line of representation inevitably blurs, as the artist nudges his forms toward abstraction and surrealism through softened edges, shifts in scale, lush but strange colors, manipulated perspective, and shapes and imagery that repeat but become altered over time.

Smaller in scale than those paintings of her 2014 debut exhibition, the new work matches in surreal ebullience their predecessors, praised by Roberta Smith as «big, boisterous semi-abstract canvases (that) exude an impressive confidence... like close - ups of billboards or a tour through some outsize undergrowth in which nature has merged with several brands of abstraction, from early American Modernism to Color Field painting... (Silva) is already is tackling a lot with an astuteness and aplomb that make her a painter to watch.»

Through scale distortions and rhythmic repetitions of motifs, including tulips, solar panels, and mass products, Gursky explores the formal questions of abstraction with the almost musical approach, echoed in Hawtin's hypnotic soundscape.

We're tough around here, and we can take it if someone's talking behind our backs: Hilton Kramer, testy art critic for the New York Observer, came to San Francisco on «other business,» he writes, but managed to stop in at the Museum of Modern Art, where he glanced at the Gerhard Richter show (which he'd «already suffered through at MoMA in New York») and looked both at the permanent collection (early Matisses «remain, in my opinion, SFMOMA's principal aesthetic asset») and the Ellsworth Kelly exhibition («What could be more personal than the persistent, unvarying project of self - abnegation on a monumental scale that we observe in his own most ambitious abstractions?»

There are other works (interestingly, many of which spring from the word «train») that retain their ambiguity through abstraction, such as the intensely blue, self - explanatory «AS THE CROW FLIES (the distance between my studio and the Drawing Center (3666 miles) drawn on scale 1/1, 5900000 lines of 39.37 inch» (2014) by Kris Van Dessel; the colorful, hard - edge monoprint silkscreen from the artist known as HENSE, «Shape» (2014); and Carl Fudge's black - and - white woodcut «Bricklayer 1» (2014).

As in his Legends paintings, small - scale works that employ legible symbols and graphic relationships as linguistic antecedent, Bosmans translates the mythic signification of these cultural relics into plastic materiality through facsimile and abstraction.