Sentences with phrase «take on abstract painting»

This is London - based Seto's first one - person show in the US, and I'm eager to see his take on abstract painting.

Not exact matches

She can bow in three different ways, play basketball, steal a checkbook out of a pocket, wave a flag, play piano, paint abstract art, count, say «yes» and «no,» smile, stick out her tongue, honk a horn, fetch a hat from another person and bring it to me and then take it back, square up and stretch out, stand on a pedestal, lie down, etc..

Are we homogenizing the work of someone who labors for weeks on a portrait vs. someone who perhaps is an abstract artist and takes 1 day to complete a painting?

As a result, her paintings, though very abstract, sometimes take on the expansiveness of a landscape.

It was a terrain where snippets of faces or figures taken from an ad, a cartoon, or a news photo, or that might be recognizable on their own — Alice, say, from Alice in Wonderland, or a figure from Goya, or Hopalong Cassidy — were magically interwoven with, or painted over, patches of fabric or abstract markings.

Each painting is based on, «abstracted from», photographs taken by the artist at that specific location and then digitally manipulated.

Kate Hoffman's Dream Home series, photographs taken from performative collage collaborations, has a malleable quality that emphasizes the viewer's own socio - political leanings; Samira Yamin's intricate patterns of Islamic sacred geometries cut into TIME Magazine photos of war oscillate between greater ambiguity and flirting with the didactic depending on the density of the cuttings; Sandra de la Loza's photographs of Stoner Spots underscore the politics of leisure through the exploration of pot - safe spaces, with a subtext of the not - quite - yet absorbed by development; Scott Short's «abstract» paintings replicate multiple generations of photocopying through the prism of Walter Benjamin; and Suzanne Wright will exhibit a deftly humorous Étant donnés-esque collage alongside mandala targets — each salves, in their respective forms, for our tumultuous zeitgeist.

Continuing the Warholian reference, on show will be a series of large scale unique silkscreened portraits of the artist as Che Guevara, Joseph Beuys, Elvis Presley amongst others, as well as works based on Warhol's urine oxidation paintings, abstract works made by pissing on copper metallic painted canvas Turk takes a Gestalt approach to cliché and iconic imagery subverting our sense of what we think we are seeing.

Finally, Artist - Teachers will participate in a hands - on abstract painting lesson that they can take back to their classrooms.

Initially joining the weaving workshop, being one of the few options open to women students, Albers took on textiles in just the same way as she might have taken on painting, creating brilliantly patterned abstract wall - hangings alongside more functional textile designs.

Sydney Ball, Zianexis, 2009 Acrylic on canvas, 152 x 168 cm March 4 - 21, 2010 The following extract is taken from «Sydney Ball: prophet of abstraction» by Wendy Walker, Sydney Ball: The Colour Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract -LSB-...]

It was also in New York that Thompson quickly arrived at his mature style, taking Dody Müller's advice to heart by reworking the compositions of European Masters such as Piero della Francesca, Nicolas Poussin, and Jacopo Tintoretto into simplified, abstracted forms painted in threatening and seductive tones that were hot and violent or deep and dark — seizing on the dynamism of these classical scenes and often transforming them into contemporary allegorical nightmares.

Entire Diploma show of abstract paintings taken down by order of President of Royal Academy, Sir Charles Wheeler, but Diploma awarded on strength of earlier figurative work.

The individual curls and ripples of paper echo the contours of traditional brushstrokes, in some passages even taking on the gestural quality of abstract expressionist paintings.

He went through his black and white phase, and came out the other side in the late 1970s making paintings and prints of utter clarity, but which reintroduced colour, built up paint in low relief and explored once more the illusion of three dimensions, suggesting volume and spatial depth in what could look a little like a late - century and cheerier abstract take on Giorgio de Chirico's bleak city centres in lovely, hard colours.

Andy Warhol gets to take a piss on abstract painting.

Tim Hawkinson, Stephen Westfall, Wendell McRae, and Donald Baechler take on the construction job — with everything from abstract painting and photography to machine parts.

Donald Baechler, Stephen Westfall, Wendell McRae, and Tim Hawkinson take on the construction job — with everything from abstract painting and photography to machine parts.

Stephen Westfall, Wendell McRae, Tim Hawkinson, and Donald Baechler take on the construction job — with everything from abstract painting and photography to machine parts.

While they are still in Shepherd's paintings, the lines now take on an abstract and renegade life.

Turnbull was painting as well as sculpting, and though some of the later abstracts look like a second - hand take on Barnett Newman, many, composed mostly of broad horizontal brush - strokes in blues, greys, ochres, reds and greens, are packed with nascent energy and survive as remarkable paintings to this day.

Wendell McRae, Stephen Westfall, Tim Hawkinson, and Donald Baechler take on the construction job — with everything from abstract painting and photography to machine parts.

Peter Schjeldahl writes in the October 9th, 2017 issue of The New Yorker, «The happiest surprise in Trigger is a trend in painting that takes inspiration from ideas of indeterminate sexuality for revived formal invention... Christina Quarles... rhymes ambiguous imagery of gyrating bodies with dynamics of disparate pictorial techniques... The wholes and parts of bodies in Quarles's cheerfully orgiastic pictures entangle in alternating styles of line, stroke, stain, and smear... called to mind early nineteen - forties Arshile Gorky and Willem de Kooning, who fractured Picassoesque figuration on the way to physically engaging abstraction... Quarles playing that process in reverse, adapting abstract aesthetics to carnal representation.

Fake fireplaces in fake rooms, captivating abstract geometry and a cubist take on silent film are among the paintings on show at this fascinating and focused exhibition of contemporary British painting.

Highlights from this include his piece Spiderman (2015), in which the artist takes on the persona of a trans woman for a raunchy, politicized standup routine, and his signature large - scale abstract compositions, which he forms by layering paper and paint before sanding them down to reveal previously - obscured layers of color.

Taking inspiration from Warhol's late prints on view in the museum's Andy's Toy Box gallery, Rudnick created three new large - scale abstract paintings, installed in The Warhol Store's street - facing windows.

But his question wasn't wrong per se — it just didn't have much to do with the achievement of his exhibition, which takes a more interesting, less expected tack: Garrels asked six abstract painters working in the United States to «select one or two of their own recent paintings to be shown with works by other artists who have had a significant impact on their thinking and the development of their own work.»

The performance will take place on the spacious second floor gallery at MARC STRAUS on 299 Grand Street, Lower East Side in New York, where the exhibition of abstract paintings by German artist Anna Leonhardt is currently on view.

For example, in the book that accompanied her painting Aqueous Flesh (2009), Pundyk reveals that her reference for the human figure was clipped from a newspaper, tree branches from a photo taken out of her family - in - law's New York apartment, facial features from a candid photo of a friend on vacation in Paris, and an abstracted version of two women sourced from an image in a waiting room magazine.

Art Informel in Vienna European abstract paintings from the post-war Art Informel movement take centre stage at Dorotheum's Contemporary Art sale in Vienna on 31 May.

For painting, head to Trinity House, which offers Tranquility by John William Godward, a disciple of Lawrence Alma - Tadema, while a more abstract take on the theme can be found at Foster - Gwin, which offers a vibrant, gestural composition by the Abstract Expressionist painter, James Kelly.

Jettisoning the so - called abstract paintings she had been producing up to that point — large and literal territories of soiled oil paint peppered with holes punched through the canvas — Pensato took on bucketloads of black - and - white enamel and doubled down on her canvases.

In his first review for ArtThrob Mitchell Messina unpacks van Eeden's process and discusses the narrative directions that piling one object on top of another can take and how this relates to the abstract paintings that accompany van Eeden's installations.

Wall texts lay out his basic themes and motifs, from strange meditations on Donald Duck and the «tent paintings» in the 1960s to later works that took up symbols from Germany's Nazi past, and repurposed them as surreal «dithyrambs,» a term borrowed from Greek poetry but reinvented by Lüpertz as a catchall for his not - quite - abstract forays into abstraction and not - quite - figurative exercises in drawing real things in the world.

Based on the thoroughness of these class notes, and also on the syllabuses for the Asian art courses that Reinhardt took from Alfred Salmony at the IFA in the late 1940s, the essentializing of Reinhardt's published essays was intentional, part of a larger strategy to promote his own ideas about contemporary abstract painting by means of paintings from a foreign past.

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.

The first perhaps marked a satisfactory conclusion to the inward logic of the monochrome and took the form of two sculptural pieces made of panes of glass and painted grey on one side, Richter's second breakthrough of 1977 was the development of a substantial number of colourful abstract works he described simply as «Abstraktes Bild».

Shane Campbell has a strong exhibition of new works by John McAllister on view, and Kavi Gupta's exhibition of new «abstract» paintings by the aforementioned Clare E. Rojas makes a strong case for why artists should take chances.

«This bicoastal photographer,» a San Francisco Chronicle reviewer wrote, «has taken a pictorial cliché, reflections on the surfaces of bodies of water, and turned it into a means of generating compositions that echo classics of Surrealist and abstract painting.»

In Forms 1, irregular, roughly geometric forms in four loose columns situate themselves on a grey ground, which looks as though it may be comprised of many layers of other colours in order to arrive at the richness of the final colour... Here, Parsons does not take some real world starting point and abstract from it in the process of representation, rather she invents by pushing the paint about on the canvas until forms suggest themselves.

Having studied art in Paris with the sculptors Antoine Bourdelle and Ossip Zadkine, Parsons went on to take up abstract painting.

«Cerulean Gallery's pairing of Michelle Oosterbaan's multi-panel abstract paintings inspired by Icelandic landscapes, and Anda Dubinskis» shadowy charcoal riffs on single decorative elements that take them into another realm, is possibly the most elegant two - person show this gallery has ever mounted.

2014: Richter starts to work on the four paintings later called Birkenau [CR: 937/1 -4], based on four photographs taken by inmates of the Birkenau concentration camp that he paints on canvases and later overpaints in an abstract manner.

[12] Fragmento Brasil (1977 - 2005), a synchronized multi-projection piece without sound, is made up of paired sequences of 648 images [13] from three sources: details from Albert Eckhout's mid-17th-century paintings of Brazilian birds set in idealized landscapes of European provenance; the abstract drawings of Yãnomãmi people from Venezuela and Brazil, 1978 — 80; and in conjunction, black & white landscape photographs of the Rio Caroni, Rio Uraricoera and Rio Branco regions in Venezuela and Brazil taken by the artist on a five - month walk in 1977.

Here, Parsons does not take some real world starting point and abstract from it in the process of representation, rather she invents by pushing the paint about on the canvas until forms suggest themselves.

Following up her earlier work critiquing mid-century modernism, i.e., abstract painting, in which she redid Kenneth Noland stripe paintings as awnings, Morris Louis stain paintings as tie - dyes and even Barnett Newman «zips» as monochromes divided with real zippers, Dunphy is now taking on the entire modernist canon in the form of miniature embroideries.

Hess had championed the American abstract expressionists as the heirs to European abstraction, which, as Hess argued in his 1951 book on the movement titled Abstract Painting: Background and American Phase, had formerly been centred in Paris and had recently relocated to New York: «New York becomes Paris for the art of its time, and also takes over Paris» tradition.»

On view at the Guggenheim Museum in New York, is a unique exhibition of abstract works taken from the museum's 20th century collection, intended to show the trends present between the years of 1919 and 1939, during which time a variety of abstract artists flourished, pioneering new techniques and creative philosophies across the mediums of painting, sculpture and drawing.

And this past winter the Lodge gallery in East Hollywood staged a show of her new paintings, which represent a more abstract, if equally colorful, take on the body — primarily, her own.

Here on BBC Arts we take an in - depth look at the influence of abstract art on modern design with renowned designer Peter Saville; saxophonist Soweto Kinch explores how jazz embraced abstract through its album cover iconography; Alastair Sooke talks technique as he gets inside the world of abstract master Jackson Pollock, finding out just how challenging it is to create one of his famous drip paintings.