Sentences with phrase «space between abstraction»

Occupying a space between abstraction and figuration, Merz's work also has the capacity to invoke a subtle spectrum of contrasts: the ethereal and the physical; the unworldly and the worldly; the organic and the manufactured.

Celebrated for exploring the space between abstraction and figuration, the artist is best known for his painting of still - lifes, landscapes and the female nude.

In painting, that often translates into an exploration of the space between abstraction and representation, or between two and three dimensions.

Scott continued to explore the space between abstraction and figuration, exploring primitive forms and motifs inspired by everyday life.

There are, however, connections between the two artists» practices — their works posses a sense of fragility, often occupy the space between abstraction and figuration, and are made of natural materials such as clay — and Rojas» installation resonates well with Merz's multimedia works.

Artist Statement Painting is a unique fictive arena where there is the potential for almost anything to occur in an indeterminate shifting space between abstraction and representation.

At heart there seems to be a kinship with Bonnard's or Braque's sense for visual structuring, but where the Post-Impressionist and Cubist were deeply involved in the intersection of capturing light and composition, Caivano seems more involved in a journey of creating pictures and working in the space between abstraction and representation.

I'm a painter... working in the space between abstraction and realism.

The final images capture a more obscure and painterly depiction of the subjects» structures that occupies the space between abstraction and representation.

Neleman's distinctive works inhabit the space between abstraction and representation.

We're constantly asking the audience to fill in the missing space between abstraction and representation.

They have been as central to the space between abstraction and representation as Hale Woodruff or Beauford Delaney.

His densely layered imagery inhabits the space between abstraction and figuration that speaks to themes of history, cumulative experience and the metaphysical collapse of time into single moments.

The space between abstraction and imagery is all over the place right now, much of it firm in its outlines but fluid, sketchy, and painterly in detail.

He works with architectural structures, seemingly abandoned and occupying a space between abstraction and figuration.

Drawing on diverse cultural sources including literature, history, art, music and religion, Khan has developed a unique narrative involving densely layered imagery that inhabits the space between abstraction and figuration and speaks to the themes of history, cumulative experience and the metaphysical collapse of time into single moments.

She began her career as one of the so - called «new imagist» painters of the mid-1970s, working to find a new space between abstraction and representation.

They also anticipated the revival of Post-Minimalism and the space between abstraction and representation in art today, a space visible in titles for Eiben like Blackbird, Yellowbird, and King Animal as well.

I try to be extremely sparing in my use of the L - word, but here goes: the work in this group show curated by Julie McKim — including works by Sonya Blesofsky, Angeles Cossio, and Erik Hougen — explores liminal spaces between abstraction and figuration, the familiar and the bizarre.

Not exact matches

In this phase of his theory time is a relation between events, and the qualities of the structure expressed in the abstractions which are space and time apparently are qualities of passage.

Neither his relational conception of space, which is basic for understanding his concept of extensive abstraction and which gave his theory of relativity its unique character, nor the problem of the bifurcation of nature, with its differentiation between the materialistic and personalistic outlook on the world, seem to be clearly in Whitehead's mind at this time.

Following in the tradition of The Club (1948 — 1962), an organization on East Eighth Street, where lectures and panel discussions openly aired the debate between figuration and abstraction, and inspired by The Club's renegade members who organized The Ninth Street Show (1951), an exhibit that shook up the establishment, downtown artists developed bylaws and launched their own spaces.

1999 AC Project Room, New York, N.Y. Staff USA Gallery «Goldberg, Kamitaki, Beckett» New York, N.Y. Galerie Albrecht Minimal.Emotional» (Goldberg, Hofmann, Mills, Su) Munich, Germany Parsons School of Design Galleries «Drawing in The Present Tense» curated by Roger Shepherd and George Negroponte (catalogue) New York, N.Y. Zeitgeist «Monotypes» (Glenn Goldberg, Will Berry) Nashville, TN 1998 Hill Gallery Birmingham, MI 20th Century Art L.I.C., N.Y. 1997 20th Century Art L.I.C., N.Y. Galerie Albrecht Munich, Germany Rose Art Museum «Works From The Collection» Waltham, MA 1996 Knoedler & Co., New York, N.Y. Hill Gallery, Birmingham, MI 1995 Hill Gallery, Birmingham, MI The Work Space «Wacko» New York, N.Y. Galerie Albrecht «Gosewitz / Goldberg» Munich, Germany Edward Hopper House «Goldberg / Wiley» (videotape) Nyack, N.Y. 1994 Hill Gallery Birmingham, MI The Academy of Arts & Letters «46th Annual Academy Purchase Exhibition» New York, N.Y. Baxter Gallery of Art «Intimate Observation» curated by Jennifer Gross Portland, ME Castle Gallery «Toys / Art / Us» curated by Lori Friedman New Rochelle, N.Y. 1993 New York Studio School «Formative Past: Present Form» New York, N.Y. Galerie Albrecht «Baechler, Goldberg, Hofer, Roiter» Munich, Germany Robert Morrison Gallery «Goldberg, Humphrey, Koorland» New York, N.Y Castelli Gallery «Drawings: Foundation of Contemporary Performance Arts» New York, N.Y. 1992 Germans Van Eyck Gallery «Play Between Fear And Desire» curated by Jennifer Gross New York, N.Y. Rosenthal Fine Art «Glenn Goldberg - Josef Ramaseder» Chicago, IL Angles Gallery «Numbers» Santa Monica, CA David Beitzel Gallery «Paper Houses» New York, N.Y. Betsy Senior Gallery «Goldberg, Mangold, Row, T. Winters» New York, N.Y. Galerie Theuretzbacher «Against The Grain» (catalogue) Vienna, Austria 1991 Bellas Artes Gallery «Masterworks of Contemporary Painting, Sculpture and Drawing: The 1930's to the 1990's» Santa Fe, New Mexico Hill Gallery Birmingham, MI Museum of Contemporary Art «The Scott Spiegel Collection» Los Angeles, CA 1990 Wetterling Gallery (catalogue) Stockholm, Sweden Madison Art Center «Intimate Inventions / Gestural Abstractions» Madison, WI.

Her canvases slide easily between abstraction and representation, establishing stage - like spaces occupied by bodies and objects.

Interstitial seeks to answer this question through the examination of new and recently - created free - standing sculptures by contemporary Los Angeles - based object makers whose work exists in the interstices, the spaces between the historical genres of the decorative arts, still life, and abstraction.

Aesthetically, the presentation includes Valledor's early expressionist abstract paintings and signature reductive and minimalist compositions with an emphasis on his later hard edge and color - based abstractions from the 1970s and 80s that included illusory and optical constructs exploring space and creating a tension between the two - dimensional and three - dimensional worlds.

Daniel Canogar has an eerie, wall - sized cross between a crowd scene and a literal crawl space, Casey Reas again takes computer instruction to a space between geometric abstraction and cyberspace, and Mark Napier creates a «mash - up» of world flags that makes an Alighiero Boetti mapping look colorless by comparison.

Can Jason Tomme, Scott Lyall, and «American ReConstruction» find a space between painting, prints, models, and abstraction?

David's interest is not to recount narrative or present the recognisable, but to respond inventively within a formal space which fluctuates between flat abstraction and a (perhaps familiar) landscape, interior or still - life.

Her painting seeks an intersection between perception and abstraction using the phenomenon of light, space, and form as personal metaphor.

In 1960, inspired by Pollock as much as by Matisse, Hantaï hit upon his technique of pliage - painting on crumpled canvases that, when stretched, resolved into celestial abstractions that collapsed distinctions between positive and negative space.

Currently, Tawney is featured in a number of notable museum exhibitions including Between Land and Sea: Artists of the Coenties Slip at the Menil Collection in Houston, TX; Beyond Craft at the Tate Modern in London, England; Making Space: Women Artists and Postwar Abstraction at The Museum of Modern Art in New York, NY; and Thread Lines at the Kentucky Museum of Art and Craft in Louisville, KY..

Abstraction is out, and the figure is in; flatness is out, as artists begin to embrace a space that lies somewhere between reality and a digital simulacrum of it.

When Pam Cooper creates a floating house of paper and pins, when Caroline Burton mimes a Jasper Johns white target in bubble wrap, or when Alison Weld pairs a thick abstraction with fake fur, finding a protective separation between male and female spaces grows a little more difficult.

Appropriating iconic American cartoon characters as her point of departure, Pensato's gestural paintings and drawings flicker in the liminal space between menacing abstraction and comedic representation: Batman is depicted as a hollow, deliquescent mask, Bart Simpson peers through abraded skin, and Felix the Cat is rendered as a decapitated head.

Done on unbleached canvas, while leaving the bottom half of the painting untouched, «Abstraction» (2002 - 2015) hovers between being a brown cloth surface on which paint has been applied and a deep space terminating at a far wall.

A Los Angeles - based artist, Pearl C. Hsiung explores the space between representation and abstraction, often a site for humorous commentary.

1995 Pasted Paper: Collage in the 20th Century, Louis Stern Fine Arts, Los Angeles, CA 25 Years: An Exhibition of Selected Works, Margo Leavin Gallery, Los Angeles, CA Between Reality and Abstraction: California Art at the End of the Century, Art Museum of South Texas, Corpus Christi, TX 1994 Balls, World Cup USA 1994, Newspace, Los Angeles, CA Twentieth — Century Drawings, Los Angeles County Museum of Art, Los Angeles, CA In Plain Sight: Abstract Painting in Los Angeles, Blue Star Art Space, San Antonio, TX Paintings of the 80's, RosamundFelsen Gallery, Los Angeles, CA Fractured Identity: Cut and Paste, Julie Saul Gallery, New York pen & ink, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA Fawbush Gallery, New York Very Visual Dialogue, Personal Journeys in Abstract Painting, Rancho Santiago College Gallery, Santa Ana, CA

Repurposing what might be mistaken for household garbage (or might actually be), the artist gives these bizarre constructions a discernible pulse, playfully maneuvering between flat and dimensional space, between representation and abstraction, between the real and the unreal.

The panel will explore the timeliness of this recent iteration of digital abstraction, with three artists who variously work through issues such as: how gesture, expression, and authenticity might continue to be possible in a contemporary image - based culture; whether our digital era truly produces an ahistorical condition in which images and marks have no specific reference and no relevant point of origin; how structures of and interfaces with digital technologies have necessitated new models for thinking about memory, distribution, and reproduction, as well as degradation, rupture, breakdown, and the void; and how the ubiquity of the screen in all aspects of life has given rise to a renewed interest in the relationship between two - dimensional and three - dimensional space, with a refreshed focus on tromp l'oeil and «topographical» painting.

Can Scott Lyall, Jason Tomme, and «American ReConstruction» find a space between painting, prints, models, and abstraction?

A major breakthrough in his career occurred in 1974 when he began making wall - size abstractions (which he calls «Installation Drawings») that radically alter the relationship between drawing and architectural space.

Hovering between abstraction and familiarity, these works utilize the stacked space of Asian perspective to visualize a realm of mind.

Inspired by geometric abstraction and working in a diverse array of materials — each situation determining the media — Caldas» work articulates the tenuous relationship between the architectural space and those who occupy it.

Blending the philosophies of architecture with abstraction, architecture becomes both a visual and physical bridge between inside and out, a passageway of self - reflection, while abstraction is a way to move through, interpret and explore a space.

The imagery is typically and purposely evasive and the figure / motif fluctuates within a space between flat abstraction and a more traditional representation of the landscape, seascape or interior.

Keltie Ferris's disorienting, lambent abstractions — like a marriage between Albers and Oehlen, bathed in acetone — become even more physical with her current exhibition at Mitchell - Innes & Nash's Uptown space.

She has been included in the group shows «Post War: Art Between the Pacific and the Atlantic 1945 - 1965», Haus der Kunst, Munich, Germany (2016); «Order, Chaos and the Space Between», Phoenix Museum of Art, Arizona, USA (2013); and «The Geometric Unconscious: A Century of Abstraction», Sheldon Museum of Art, Nebraska, USA (2012).

Using painting, drawing, and abstraction as markers of a space outside verbal description, Jessica Dickinson examines the slow exchanges between perception, matter, and psychology that develop in peripheral spaces.

The 13 works on view highlight the formal similarities between the artists» work and illustrate a parallel shift in their conception of pictorial space — from a figural abstraction to a new sense of openness and expansiveness.