Sentences with phrase «space between your subject»

The work operates in the space between the subject and the object, between photography and painting, in a tradition now well - established by forerunners such as the frequently - referenced Gerhard Richter.

Not exact matches

It wasn't just about the subject matter — although it's tricky to write about such a tender and intimate time in a person's life, to tell your own story while still holding space for stories that are so different than your own, to attempt to shepherd people well in the liminal spaces of their faith journeys — but it was also just the season of life with being pregnant with our fourth and then giving birth and suddenly having four tinies between the ages of 9 and newborn meant I had a lot less time with a lot less energy (and even less sleep!)

During the year - long mission, the brothers will be the subject of 10 chosen investigations with a team at NASA monitoring any physical changes that take place between Earth Kelly and space Kelly.

Based on true accounts, the superficial lines between subject and bystander are blurred and bound together, allowing individuals to walk in a vast space and thoroughly live a fragment of the refugees» personal journeys.

It creates distance between them and the subject, giving them a safe space to openly explore it.

Each core subject comment is between 650 - 680 characters (including spaces).»

Through my conversations with Dec, one thing became increasingly clear: Maker Spaces like the one at Marymount create bridges between traditionally compartmentalized subjects.

With this space, we removed the silos of the traditional subject classes — instead, we've implemented a project - based curriculum, and students rotate between teachers according to their needs to complete a DREAM Factory project.

In K - 4, students receive new learning plans each week outlining what will be taught in each subject that week, as well as space to facilitate communication between parents and the teacher.

Now the birds» and cats» shared space is the subject of a federal lawsuit that is the latest salvo in the very pitched battle between outdoor cat advocates and bird advocates in the United States.

This reinforces an uncanny sense that we share a space with her subjects; it also establishes an equivalence between viewer and subject.

But Borremans» style, its inherent drama, the way his subjects clog up the frame, the way they somehow seem to exist in a space between the surface of the canvas and the trompe l'oeil illusion, owes more to painters of prior generations, like Manet, Velázquez, or Caravaggio.

Radically revising the line between public and private, the exhibition space was domestic space, and conventional assumptions about suitable artistic subject matter were discarded; the bathroom and the dollhouse were appropriated as «appropriate» exhibition spaces for feminist art.

Since 1992 his subject matter has increasingly focussed on institutional spaces and the relationship between social control and societal structure.

His subject matter has focused on institutional spaces and the relationship between social control, societal structure and ever more sophisticated levels of interpretation.

Since 1992 his subject matter has focused on institutional spaces and the relationship between social control, societal structure and increasingly sophisticated levels of interpretation.

The dialogue that accrues between the painter Stuart Davis (1892 - 1964) and the sculptor George Sugarman (1912 - 1999), the subjects of an exhibition at Washburn Gallery, is predicated on «ideal space relations,» on how fully their respective mediums embrace and embody that essential attribute of art - making.

The goal in painting these subjects so intimately familiar to the artist is to provide the viewer with a tour of his hometown neighborhood — a place he refers to as occupying a «middle space», a uniquely American in - between of poverty and middle class.

She exploits the similarity between the liquid form of both subject and medium - water, sky, light - filled architectural spaces - which she anchors with strong but simple geometric elements.

Dissolving the space between artist and model, viewer and subject, these paintings are notable for their celebration of color and flesh.

I ♥ John Giorno is an unprecedented collaboration between leading non-profit and alternative spaces across New York, which are joining forces for the first time to mount a multilayered exhibition on a single subject.

Hovering in a space between video and still photography, the unfixed nature of this work mirrors the uniqueness of its non-binary subject, Mona Ahmed.

With multiple layers of paint, color and line, she creates an ambiguous space that affords the viewer an intimacy with her subject matter and both obscures and recalls the pain it evokes («Pietà») In her catalogue essay, Tina Kinsella writes, «Bracha's recent paintings beckon us to reprise the work of mourning, to return to the grounds from which the act of lamentation arrives and to reappraise the particular emotion that the laboring through grief produces... the Pietà always threatens to disclose this excess of sorrow by surfacing the penumbra of future loss that lurks in the heart of the maternal relationship between mother and child.»

This sentiment is echoed by Antenna Space director Simon Wang, who notes that Guan's works «study the internal equivalence between the object and the subject, the old and the new, and the self and the other in a viewpoint that appears to be counterintuitive.»

His idiosyncratic practice is about getting inside and exploring this space like a language of his own — somewhere between drawing, painting, and sculpture and between subject, image, and form.

Among the themes explored are the establishment of new definitions of painting; the introduction of movement and light as both formal and idea - based aspects of art; the use of space as subject and material; the interrogation of the relationship between nature, technology and humankind; and the production of live actions or demonstrations.

It seeks to redefine the psychedelic in terms of an art that deals with events and effects: events in social space as well as in the nervous system, and effects that spread as a kind of unconditional exchange between free subjects in a new sensorial community.

The work Dodd exhibited in the 1950s shows the influences of the period's gestural abstraction, with areas of loose, brushy color filling the spaces between recognizable subjects, like the cows she initially exhibited.

Would the young photographer, known for using collections, warehouses and archives (such as the Harry Ransom Center in Austin) for his subject matter, spend a few days in the Pace space photographing the interplay between the art and the setting?

James Dean Erickson, an artist whose paintings explore the space between realism and abstraction to elicit the ephemeral and enduring qualities of nature, will lead the Painting Traditional Subjects with Modern Material workshop and Simplicity and Synthesis lecture in February.

The old opposition between the «white cube» and the «black box» feels obsolete, even as the exhibition space's importance as a subject of artistic and critical investigation continues to grow.

Like most of Casteel's work, her new paintings — introspective and given largely to subjects seated in their natural environments — address relationships between individuals and the spaces they live in, often touching on issues related to class and race in the process.

His subject matter likewise constantly shifts between representation and abstraction, with both space and objects either aggressively realized or figuratively indicated.

Pica continues her exploration of ways of communication and the celebratory as a space for cultural intimacy, reflecting on the distance between subjects and the means used to breach it, that is: ways to express messages and convey meanings, whether it is spoken or visual, human or mechanical language.

The subjects allow the artist to explore the relationship between deep space and the flat plane of the picture's surface.

Between the two spheres of activity, he creates for himself a space for discourse on a wide variety of subjects.

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

Continuing her interest in the confrontation between nature and culture, the paintings on view explore the pictorial space, where the physicality of painting and the play with architectural elements, in all senses, become the subject of the picture.The exhibition will be on view from Sunday, September 11 through Sunday, October 16, 2011.

Her interest surrounds the overlapping of landscape and studio space, inside and outside, as she questions the relationship between image and subject matter.

EFA Project Space presents an exhibition featuring artists who approach water navigation as subject, as part of Sea Worthy — a partnership between Flux Factory, Gowanus Studio Space, and EFA Project Space.

Ranging from the Light and Space Movement of the late 1960s, to works by contemporary artists like Dominique Gonzalez - Foerster and Cyprien Gaillard, and performances and workshops, this exhibition spans a panorama, featuring a great variety of immersive practices which dissolve categories of viewer and work and diminish the distance between subject and object.

The key subject of the course is the Exhibition as Communicative Space and will include: discussions about criticism and analysis of comprehensive phenomenon of how contemporary art, design, architecture, sound and performance, and publications as dominant art forms of visual culture adapt, co-exist, and conflict with market system; the course will reflect upon creative responses to conflict and crisis versus problems of value judgment on today's market - led cultural phenomenon and cultural movement, and the role of curator as a cultural translator and mediator between the two; and exploration of alternatives for ecological health of increasingly globalized art and culture.

Playing with pictorial space of the canvas — often closing in on her subject — Otto - Knapp creates a visual language that oscillates between the abstract and the figurative, reflecting the movement she captures in paint.

Lí Wei entertains and executes both elements by incorporating a sharp contrast in style between the two divided gallery spaces and at the same time choosing subjects and objects that are plainly and blandly derived from our every - day life which evokes personal resonation for its viewers.

This statement makes sense, given the complexity of Thater's subject matter: the networked entanglements between human and other, species and habitat, viewer and viewing space, zebra and zeal (the last a term of venery for a group of zebras).

When it comes to subject - matter, Op de Beeck is focused on the relationship between mankind and time and space.

As a further nod to Fernández's favourite subject of landscape and perception, the line between artwork and viewer is blurred by the golden surface, which reflects the image of the spectator in its negative space.

Rooted in reality, yet subjected to a process of elaborate transformation, Skaer's images hover in the space between recognition and ambiguity, figuration and abstraction.

Importantly, the heavy influence of music is evident not only in the soundtracks and Adkins» selection of musicians and composers as some of his subjects, but in the structure and composition of the videos — the rhythmic interactions between images in double - and triple - channel works, the cadence of interposed blank spaces, and the recurrent vibrating stereoscopic imagery that pulsates with life.

The work as a assamblage and as an attempt to reach or describe a private space of the mind that automatically reads information and so makes connections in relation to the public display and formation of the subject in the everyday passage between public / private spaces, dreams and screens.