Sentences with phrase «standing practices of painting»

Not exact matches

Hoyland often made paintings from the inside, standing on the canvas and flinging paint around, sometimes straight from the can, in the manner of Jackson Pollock, and here this practice is visible at its most emphatic.

Similar to the practice of formal sculpture, Otero makes work that have a presence within the long - standing dialogue extracted regarding contemporary painting, while communicating with the past.

Yet, if this programmatic statement of multiple colors stood for Rauschenberg as the beginning of an engagement with painting, it also signaled the conclusion of painting as a modernist practice oriented to the progressive reduction toward an «essence» of color applied to a flat surface.

Drawing was a fundamental, stand - alone component of Alice Neel's practice, persistently pursued alongside painting, for which she is primarily known.

Comprising thirty - six works, it spanned more than three decades and focused on the artist's long - standing interrogation of painting via a practice that oscillates between representation and abstraction and locates the medium within an expanded field.

The artist's long - standing interest in Japanese nihonga painting and the contemporary practices of manga and animation are highlighted in this important body of work.

Paintings and drawings come out of his long - standing interest in politics, philosophy and the relationship between art theory and practice.

An interest in the coalescence of form and space is apparent in Smith's practice and particularly stands out in the diversity of his watercolor paintings.

Additionally, wooden panels are standing freely throughout the space, painted on both sides with motifs reminiscent of nature - referring to Calero's previous painterly practice on canvas.

The use of domestic gloss paint is indicative of Hume's practice, yet its effect on the paper ground enables a distinctive interplay between light, depth, and texture that stands in stark contrast to his characteristic aluminium paintings.

Works from Lewben Art Foundations, Lithuanian Exhibition and Congress Centre LITEXPO, Vilnius 2017 «A Screen of Flesh», Coma Gallery, Rushcutters Bay 2017 «Body Language», Company Gallery, New York 2o17 «Tschabalala Self, Ellannah Sadkin, Mr Kiji», Red Bull House of Art, Detroit 2017 «Le Nouveau Voyeurisme», Hotel Contemporary, Milano 2016 «Desire», Moore Building, Miami 2016 «Life During Wartime», Diane Rosenstein, Los Angeles 2016 «Protuberances», LAXART, Los Angeles 2016 «Aiko Hachisuka, Tschabalala Self, Caroline Wells Chandler», 11R, New York 2016 «Sexting», Kate Werble Gallery, New York 2016 «Perfect Day», Roberts & Tilton, Culver City 2016 «WACKing the Piñata», Ltd los angeles, Los Angeles 2016 «A Being in the World», Salon 94 Bowery, New York 2016 «Look up here, I'm in heaven», BRIC, New York 2016 «Intimisms», James Cohan, New York 2016 «Mal Maison», Maccarone, New York 2016 «A Shape That Stands Up», Art + Practice (off - site Hammer Museum), Los Angeles 2016 «Intersections», Tensquared Gallery, Internet 2016 «Arachne's Woof», Litvak Contemporary, Tel Aviv 2016 «New Genealogies», Yale School of Art Green Gallery, New Haven 2016 «Duplify», Kate Werble Gallery, New York 2015 «Berg Matthams Self & Weaver», Thierry Goldberg Gallery, New York 2015 «A Constellation», The Studio Museum in Harlem, New York 2015 «The New New», Diane Rosenstein Gallery, Los Angeles 2015 «THATS ON ME», Paris Blues, New York 2015 «Yale MFA Painting and Printmaking Graduates», Garis & Hahn, New York 2015 «2,015 But Who's Counting», Yale School of Art Green Gallery, New Haven 2014 «13 Artists», 24/6 Space, New Haven 2014 «Swimming Pool», 24/6 Space, New Haven 2013 «For Ed: Splendor in the Grass with Olympic Lad & Lass», Yale School of Art Green Gallery, New Haven 2013 «Women Love the World», Launchpad, New York 2013 «Encounters», Harlem School of the Arts, New York 2012 «SUGGARHILL», Essie Green Galleries, New York 2012 «EdgeControl», UBS Exhibition Center, New York 2012 «NEO XL», Werehouse, New York 2008 «Radiant Minds», Queens Museum of Art, New York 2007 «Admission $ 2.00», Whitney at Altria, New York

At Adams and Ollman, McLaughlin continued his long - standing practice of graphic appropriation, showing a suite of seven paintings from 2017 that feature hieroglyphic shapes

Unlike many other Pictures - affiliated artists who use photography, James Welling established a deep and remarkably sincere commitment to his primary medium even as he undertook an extensive investigation of its long - standing intermediary role in other artistic practices: Abstract and representational painting and sculpture along with film, architecture, and, more recently, dance have all crucially informed the artist's oeuvre.

Published after artist Parker Bright physically protested the work by standing in front of it — wearing a t - shirt with «Black Death Spectacle» written on its back — Black's letter argued that «the painting should not be acceptable to anyone who cares or pretends to care about Black people because it is not acceptable for a white person to transmute Black suffering into profit and fun, though the practice has been normalized for a long time.»

Elsa Longhauser, the executive director of ICA LA says she has followed James» work for the last couple of years — from the project show she organized of the painted collages of Njideka Akunyili Crosby at the Hammer to the group exhibition «A Shape That Stands Up» at Art + Practice — and has been impressed with what's she has seen.

Drawing was a fundamental, stand - alone component of Neel's practice, persistently pursued alongside painting, for which she is primarily known.

2016 These Strangers... Painting and People, Stedelijk Museum voor Aktuele Kunst, Ghent, Belgium Los Angeles: A Fiction, curated by Gunnar B. Kvaran, Thierry Raspail, and Nicolas Garait, Astrup Fearnley Museet, Oslo, Norway; traveled to Musée d'art contemporain, Lyon, France Route to (Re) Settlement, curated by Cecelia Stucker and Kimberly Light, Mann - Simons Site, Columbia, SC A Shape That Stands Up, Hammer Museum at Art + Practice, Los Angeles, CA 30 Americans, Cincinnati Art Museum, Cincinnati, OH Non-Fiction, curated by Noah Davis, The Underground Museum, Los Angeles, CA Human Interest: Portraits from the Whitney's Collection, Whitney Museum of American Art, New York, NY Intimisms, James Cohan Gallery, New York, NY Nothing Compares to You, Works from the Collection of Martin & Rebecca Eisenberg, Riverview School, Cape Cod, MA Making & Unmaking, curated by Duro Olowu, Camden Arts Centre, London, UK Dimensions of Black, Museum of Contemporary Art, San Diego, CA; traveled to The Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis, CA