Sentences with phrase «sees painting as an object»

She sees painting as an object.

Should one see painting as an object or as the purely visual art?

Martin sees his paintings as objects with a life of their own, and not the sanctified preserve of the «white cube.»

Mark Rothko saw these paintings as objects of contemplation, demanding the viewer's complete absorption.

Not exact matches

To disclose the «essence» of an object, a feeling, even of the very act of painting as in the case of Abstract Expressionist painters, means to envision a characteristic way of seeing.

I think she liked the modeling because, for once, she was the important one and she felt Andy really «saw» her, and not just as an object to paint.

Suzanne Friedli, co-founder and partner of Annex14 who represents the artist in Zurich comments: «When we saw the paintings of Otis Jones for the first time we were immediately impressed by the deepness and the density of this reduced language, the physical presence of the object - like works and the concentration on painting as a process.

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.

However, I can also see them as objects and even make them into objects — by painting them, for instance.

It sees, in the passage from Chardin's world of objects to Rembrandt's contemplative paintings, a movement toward the radical interiority for which Proust would later become widely celebrated as a novelist.

While its iterated cuts conjure a dynamism that has an undeniable debt to Italian Futurist painting, the elongated, serial composition and slick objecthood of Concetto spaziale, Attese can also be seen in relation to such Minimalist formats as the boxes and «stacks» created by Donald Judd, whose groundbreaking text «Specific Objects» had been published in 1965.

His more recent works, which include print making, painting and installations, still draw on this theme of everyday objects and their changing nature in society and artistic practice, using their pre-defined contextual symbolism as a way to make an audience re-think what we see, and what we know.

Although the heretical «maximalist» Stella divided critics, his extravagant flights into literal space extended his definition of paintings as objects and seeing as a physical act.

Although he saw Rauschenberg's Combines as a «preliminaries» to his own work and regarded their object - like dimensionality and inclusion of found objects as «radical,» Donald Judd could only see Rauschenberg's continued interest in painting as «conservative» and too closely tied to traditional representation.6 From Judd's perspective, Rauschenberg failed to understand fully the monochrome's pronouncement of the end of painting — an end that, when read in conjunction with Marcel Duchamp's readymade, authorized the move from painting to the three - dimensional realm of «Specific Objects.objects as «radical,» Donald Judd could only see Rauschenberg's continued interest in painting as «conservative» and too closely tied to traditional representation.6 From Judd's perspective, Rauschenberg failed to understand fully the monochrome's pronouncement of the end of painting — an end that, when read in conjunction with Marcel Duchamp's readymade, authorized the move from painting to the three - dimensional realm of «Specific Objects.Objects.»

Following his Sky and Torn Sky / Cloud series from the early 1970s, Goode turned towards what can be seen as an existential inquiry into Minimalist painting, color, and the reification of the painting as an object.

MacIver's heartfelt, meditative depictions of household objects, buildings, and landscapes were seen as less ambitious and largely dismissed by trend - making painting theoreticians of the day.

As objects, the paintings were flat and screen - like, and critics saw them as a calculated affront to the sensual paint handling of Willem de Kooning, the Abstract Expressionist who was then the senior figure of the New York SchooAs objects, the paintings were flat and screen - like, and critics saw them as a calculated affront to the sensual paint handling of Willem de Kooning, the Abstract Expressionist who was then the senior figure of the New York Schooas a calculated affront to the sensual paint handling of Willem de Kooning, the Abstract Expressionist who was then the senior figure of the New York School.

A true believer in technology's aesthetic potential, he is intent on reinventing traditional pictorial methods — specifically, painting and drawing — by using the computer's capabilities and limitations to turn ordinary, Pop - inspired objects (video games and their characters, computer cables, screens, Apple Quick - Take cameras, etc.) into motifs but also stylistic models, painting them as if seen on - screen.

While the move is less radical than routine (by now we've all seen paintings brought in to function as artifacts, arranged in concert with other art or art - like objects), it effectively releases Louis» work from its unimaginative role as illustration for Clement Greenberg, opening the work for new meanings.

In the United States, Art as Object as seen in the Minimalist sculpture of Donald Judd and the paintings of Frank Stella are seen today as newer permutations.

Alongside these works are her geometric abstractions, which are typically monochromatic and are sometimes enhanced through the incorporation of objects such as wheels and belt drives, as seen in The Perpetual Painting.

At one point, the total abandonment of the recognizable object, that we saw as the 20th century progressed, and in the works of Wassily Kandinsky and Jackson Pollock, seemed to place color, marks, drips, at the center of the paintings, making the act of painting all about the painting itself.

As the same rotating cast of inanimate characters appears again and again in the paintings, we realize that what we are seeing is a memory play, a chronicle of the interaction over time between objects and owner.

In addition, we can see a detachment from the traditional painting techniques and an development towards monochromatic surfaces in order to enhance the perception of the painting as a physical object.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

Despite the efforts of the above pioneers, along with those of inter-war artists Marcel Jean (1900 - 93), Joan Miro (1893 - 1983) and Andre Breton (1896 - 1966)- see their respective works Spectre of the Gardenia (1936, plaster head, painted cloth, zippers, film strip, Museum of Modern Art NYC); Object (1936, stuffed parrot, silk stocking remnant, cork ball, engraved map, Museum of Modern Art NYC); and Poem - Object (1941, Museum of Modern Art NYC)- junk art did not coalesce into a movement until the 1950s, when artists like Robert Rauschenberg (1925 - 2008) started to promote his «combines» (a combined form of painting and sculpture), such as Bed (1955, MoMA, New York) and First Landing Jump (1961, combine painting, cloth, metal, leather, electric fixture, cable, oil paint, board, Museum of Modern Art NYC).

In answer to questions about an artwork's appearance they created newfangled forms, such as Donald Judd's early wall objects in 1962, which were neither paintings nor sculptures; or Dan Flavin, who opted for fluorescent tubing instead of conventional painting or sculpting media; or Fred Sandback, who saw the partition of a space as a sculpture; or Michael Asher, who intervened in the material conditions of the exhibition space; or indeed Lawrence Weiner, who described his works in a range of materials linguistically.

Helen Molesworth, one of the exhibition's curators (along with Dieter Roelstraete and Ian Alteveer), takes such statements as evidence that Marshall's work is best seen «as a form of institutional critique, a profound querying of the museum through its most privileged object: painting.»

Hassan Sharif: Works 1973 - 2010 Edited by Catherine David DAP Catalogue Since the early 1970s, Hassan Sharif has been developing a multifaceted oeuvre encompassing caricatures, performances, installations, scientific experiments, objects, drawings and paintings, and is today seen as one of the Gulf region's most important artists.

This permitted the whole painting as object to lend itself to the propensity in perception to see the total configuration of an object as an immaterial image of form, while precisely locating colour in an unfluctuating relationship within the overall structure of the form.

Do you feel as if the holes within your works are a way to collaborate with the bodies and and objects that are seen within the painting's absences in a space?

In my attempt to learn how to see as well as develop my language in painting, I am thinking about the studio as a library of personal history and interests and how those objects and collections relate to my art history lineage.

As usual there was a lot to see, but this year the focus shifted from bright shiny objects and mirrored surfaces to paintings, sculpture, and installations.

She saw the spray - gun acrylic technique as a way to fuse color and surface and make works that were part painting and part object.

The juxtaposition of graphic paintings with readymade objects is one of the artist's signature moves; just as the octopus represents a found image culled from the world, the furniture speaks directly to ways of seeing that exceed the usual confines of an exhibition space.

In this exhibition, we can expect to see a highly eclectic body of work as Athol lets his imagination take the reins using Victorian mirrors, vintage chairs and plates, collages of vintage stamps and letters, wherever he can see the potential to create an art work, and combining the discarded objects with media such as gloss paint, enamel and duct tape to depict nostalgic images in his distinctive pop - art aesthetic.

During the 1950s, he did not see such assembled objects as independent works but as aids in the development of the structure and space of his paintings.

The exhibition, on view in Cleveland from October 17, 2010, to January 17, 2011, will provide American audiences with an unparalleled opportunity to see about 100 extraordinary works of late antique, Byzantine, and Western medieval art, including precious metalwork objects, paintings, sculptures, and illuminated manuscripts, drawn from public and private collections as well as church treasuries across the United States and Europe.

The response, seen through the symbol of paint, burns, industrial objects, and rendering of architectural space is that such a return is not so easy, just not as clean as we had imagined it might be.

As he sees his work as part painting, part sculpture, Sinsel brings these different kinds of found objects together in tight, simple, yet detailed compositions by means of craft - based practices such as metalworking, ceramics, weaving and sewinAs he sees his work as part painting, part sculpture, Sinsel brings these different kinds of found objects together in tight, simple, yet detailed compositions by means of craft - based practices such as metalworking, ceramics, weaving and sewinas part painting, part sculpture, Sinsel brings these different kinds of found objects together in tight, simple, yet detailed compositions by means of craft - based practices such as metalworking, ceramics, weaving and sewinas metalworking, ceramics, weaving and sewing.

His lack of adventurousness and invention in this regard is in sharp contrast to the silkscreening (then considered solely a commercial process) adopted by Warhol for his paintings, or the soft vinyl sculptures of everyday objects concocted by Claes Oldenburg (who can be seen, in many respects, as the anti-Koons, outclassing him on every count of wit, irony, and imagination).

Greenberg saw the clotted and oil - caked surfaces as reflecting the artists» existential struggle; Rosenberg saw the finished object as only a kind of residue of the actual work of art, which he thought lay in the «process» of the painting's creation.

Doing conservation meant that every day I was relating to paintings that normally I would have only seen in books or museums as objects to be fixed, plain and simple.

Not seeing painting or the studio as a transcendent space separate from the rest of the world, but looking at a painting as if it is a material object in the world, like every other object.

Cutouts are carefully placed on a starry background: grayscale barbershop portraits, paper plates spray - painted silver, the nine planets in the Milky Way (and the sun), African sculptures and talismans, and everyday objects such as an electric saw, a View - Master, a plastic trash can, and a portable blow - dryer.

Claire Ashley (Scottish, born 1971) earned her BA in 1993 from Grays School of Art, Aberdeen, Scotland and an MFA (Painting and Drawing) from The School of the Art Institute of Chicago (1995)... As seen in this exhibition at 808 Gallery, Ashley's recent work explores inflatable objects as painting, sculpture, installation, and performance Painting and Drawing) from The School of the Art Institute of Chicago (1995)... As seen in this exhibition at 808 Gallery, Ashley's recent work explores inflatable objects as painting, sculpture, installation, and performance costumAs seen in this exhibition at 808 Gallery, Ashley's recent work explores inflatable objects as painting, sculpture, installation, and performance costumas painting, sculpture, installation, and performance painting, sculpture, installation, and performance costume.

Kleine Spritztour (Joyride), one of my favorite works from this time, depicts a round object (Baer keeps a shape archive, so - called «carriers,» serving as sliced salami, breasts, etc.) resembling a vinyl record, a breast seen from the front, or an eye smoking a cigarette, while traveling on a gray road toward a smoke storm of lace and painted blur.

West saw many of his paint - covered paper - mache creations as objects that should be physically interacted with, to be moved and placed in non-traditional ways.

Vincent Katz, in his book Janet Fish Paintings writes: «Her paintings of things can be seen as pure delight, beautiful objects that convey no message, that cause the mind to stop thinking and to contemplate the marvel before onPaintings writes: «Her paintings of things can be seen as pure delight, beautiful objects that convey no message, that cause the mind to stop thinking and to contemplate the marvel before onpaintings of things can be seen as pure delight, beautiful objects that convey no message, that cause the mind to stop thinking and to contemplate the marvel before one's eyes.

By the end of World War II, Léger's paintings had become increasingly abstract, with color transparencies floating amidst boldly drawn figures and objects, as seen in his Two Women Holding Flowers (1954).