Sentences with phrase «sign painting culture»
Although evoking the spirit and tradition of folk art, these works are also celebrating the urban lifestyle, particularly graffiti and sign painting culture through use of spray paint or latex paint.
http://www.jackhanley.com/ Not exact matches
(251.1 x 251.1 cm) Medium: Oil on canvas Credit Line: Purchased with funds from the North Carolina State Art Society (Robert F. Phifer Bequest), the North Carolina Museum of Art Guild, and various donors, by exchange Object Number: 96.2 Culture: German Signed: Verso, right center: Richter 1985 Inscriptions: Verso, near top left: 577 - 2 Classification: Paintings Department: Modern
Cey draws inspiration from 60s pop art, sign painting, comic books and popular culture.
Informed by the Los Angeles mural culture, Cristi's complex paintings often intermix cultural signs and representations with painterly abstraction, connecting the politics of the canvas to the politics of the street.
The 2 - D paintings in colored sign vinyl from her Color Theory Series quote works of the jazz - and language - inspired modernist Stuart Davis, in his transition from early Cubistic and Romantic influences to an engagement with radical politics and popular culture.
Much of the art of earlier cultures — signs and marks on pottery, textiles, and inscriptions and paintings on rock — used simple, geometric and linear forms which might have had a symbolic or decorative purpose.
Addressing the declining art of commercial sign painting in a digital and hyper - capitalist age, these works explore the culture of image making and are intended to redistribute value back to traditional image makers.
His drawings, paintings, and mixed - media installations take their inspiration from contemporary urban culture, incorporating elements such as empty liquor bottles and spray - paint cans, tagged signs, wrenches, and scrap wood or metal.
Flood's paintings and collages of the 1980s and 1990s transform pervasive corporate, pornographic and celebrity imagery into provocative and knowing grotesques of the colliding worlds of art and consumer culture using adulterated found materials: signs, advertisements, flea - market paintings, and magazines.
Known by the tag name «Twist» for his graffiti and street art, McGee has also developed a career within museums and galleries, exhibiting drawings, paintings, prints, and large - scale, mixed - media installations that take inspiration from urban culture, incorporating elements such as empty liquor bottles, cans of spray paint, signs, scrap wood or metal, surfboards, and other found materials.
His signs on cardboard poke fun at the prestige that culture places on paintings, with such messages as «Another Painting» or «25 More Paintingpaintings, with such messages as «Another Painting» or «25 More PaintingsPaintings.»
Drawing from classical painting and architecture, the contemporary urban landscape, and popular culture, Scheibitz deconstructs and recombines signs, images, shapes, and architectural fragments in ways that challenge traditional contexts and interpretations.
Employing the postmodern technique of pastiche, where the close display of disparate images and styles tends to reduce everything to equivalent signs, Salle's paintings function as metaphors for the dizzying onslaught of media culture.
While Nutt's art was undoubtedly inspired by mid-twentieth-century pop culture — especially comic books, advertisements, jukebox and pinball machine art, and street signs — it also explores the formal devices and techniques of historical painting.
While it was undoubtedly inspired by mid-twentieth century pop culture, especially comic books, advertisements, jukebox and pinball machine art, and street signs, Nutt's art also explores the formal devices and techniques of historical painting.
2012 London Twelve, City Gallery Prague, Prague, Czech Republic, 2010 Babel, FRAC Auvergne, France 2009 Plastic Culture, Harris Museum and Art Gallery, Preston, UK and tour Classified, Tate Britain, London, UK 2006 Pictograms; The Loneliness of Signs, Kunstmuseum Stuttgart, Germany, Fiction@Love, Shanghai Museum of Contemporary Art, China; Singapore Art Museum, Singapore 2005 Talking Pieces, Museum Morsbroich, Leverkusen, Germany Painting Pictures, Kunstmuseum Wolfsburg, Germany 2001 Hybrids, Tate Liverpool, UK 1999 - 2000 Colour Me Blind!
Streets, buildings and signs feature heavily in Sherrod's paintings, underscoring tenets of American city culture such as coffee shops, subway stations, Broadway marquees and even the circus.
Original L.A. Willette oil painting NYC Artist 1952 - 2005 Pop Culture Artist Signed and dated 2001 Comes with a grouping of photos as illustrated Biography from Alpen Gallery...
His drawings, paintings, and mixed - media installations take their inspiration from contemporary urban culture, incorporating elements such as empty liquor bottles and spray - paint cans, tagged signs, wrenches, and scrap wood or metal into overwhelming, space - transforming interior worlds.
(catalogue) Persona, The Renaissance Society at the University of Chicago, Chicago, IL; Kunsthalle Basel, Basel Switzerland 1995 It's How You Play The Game, Exit Art, New York; curated by Thelma Golden, Nancy Spector, Robert Storr, Jeanette Ingberman and Papo Colo Strung Into the Appolonian Dream... an exhibition of a private collection, Feature, NYC, NY Seven Llongish Wodden Sculptures, Feature, New York, NY 1994 The Ecstasy of Limits, Gallery 400, School of Art and Design, UIC, Chicago, IL Amenities, Frederick Layton Gallery, Milwaukee Institute of Art and Design, Milwaukee 1993 A Sequence of Forms: Sculpture by Illinois Artists, Chicago Cultural Center, Chicago, IL Mettlesome & Meddlesome: Selections from the Collection of Robert J. Shiffler, Contemporary Arts Center, Cincinnati, OH; Urbana - Champaign, IL; I Space, University of Urbana - Champaign Gallery, Chicago, IL 1992 Drawing New Conclusions, Betty Rymer Gallery, The School of the Art Institute of Chicago, Chicago, IL 1991 Office Party, (March) Feature, New York, NY Power: Its Icons, Myths and Structure in American Culture 1961 - 1991, Museum of Fine Art, Richmond VA: curated by Holliday T. Day (catalogue) 1990 Toward the Future Contemporary Art in Context, Museum of Contemporary Art, Chicago Awards in the Visual Arts, New Orleans Museum of Art, New Orleans, LA; Southeastern The Thing Itself, Feature, New York, NY (brochure) New Generations Chicago, Carnegie Mellon Art Gallery, Carnegie Mellon University, Pittsburgh, PA; curated by Elaine A. King (catalogue) Half - Truths, The Parrish Art Museum, Southhampton, NY; curated by Marge Goldwater 1989 On Kawara: Date Paintings 1966 - 1988, The Renaissance Society at the University of Chicago, Chicago, IL Signs of Life: Contemporary American Sculpture, Fundacao Calouste Gulbenkian; Fundacao Luso - Americana Para O Desenvolvimento, Lisbon, Portugal; curated by Judith Russi Kirshner.
The exhibition's placement on the fourth floor of the Museum — between galleries featuring paintings by Robert Rauschenberg, Jasper Johns, Jackson Pollock, and Andy Warhol — underscores the continuation of prewar avant - garde practices in America and the unique legacy of Evans's explorations of signs and symbols, commercial culture and the vernacular.
According to Tate Modern, this success allows Wall to reference «both popular culture (the illuminated signs of cinema and advertising hoardings) and the sense of scale he admires in classical painting.