Sentences with phrase «text paintings such»

In text paintings such as City of Love and Fear and Animal at Night, crisp black lines and well delineated edges lend these phrases an other - worldly detachment, suggesting places at once depersonalized and anthropomorphic.

Not exact matches

At times overwhelming in comparison to Nara's more nuanced and quieter paintings, his text - based works shout out messages in bold English words, or fine Japanese characters, such as «Baby, Baby, I feel Black.

Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson's leading artists, of both the past and present — beginning with monumental works such as one of Dan Graham's large - scale glass - and - steel pavilions, entitled Two Vs Entrance - Way (2016), which reflects and refracts visitors and its Brutalist architectural surroundings.

Thomas Chimes: Early Works (1958 - 1965), 2009 Text by Lisa Saltzman 56 pages, Hardcover Published by Locks Art Publications ISBN: 978 -1-879173-41-5 «Developing, in these formative paintings, a visual style indebted to the palette and compositional structures of such modernist forefathers as Marsden Hartley and Henri Matisse and emboldened by the stenographic proto - abstractions of such New York School predecessors as Jackson Pollock and Mark Rothko, Chimes systematically put forth a series of paintings that pressed such experimentations with the limits of figuration into the realm of the theological, the philosophical and the historical.

While its iterated cuts conjure a dynamism that has an undeniable debt to Italian Futurist painting, the elongated, serial composition and slick objecthood of Concetto spaziale, Attese can also be seen in relation to such Minimalist formats as the boxes and «stacks» created by Donald Judd, whose groundbreaking text «Specific Objects» had been published in 1965.

Indeed, with her adeptness at luring viewers with captivating (and seemingly innocuous) hand - painted illustrations, humorous texts, and sheer scale and then surprising them with content that is remarkably honest — by turns subversively friendly or bitingly critical and addressing such fraught subjects as power dynamics, social marginalization, and even the machinations of the art world — she has smartly aligned herself with the enduring and boundary - pushing strategies of satire, parody, and caricature.

Oscar Murillo's large - scale paintings imply action, performance, and chaos, but are in fact methodically composed of rough - hewn, stitched canvases that often incorporate fragments of text as well as studio debris such as dirt and dust.

Such texts act as extended captions to the paintings themselves.

In works such as Love Your Work (2000), with its sap - green ground and backwards text in a comic speech bubble, Feinstein subverts traditional notions of formalist painting with a phrase that reads simultaneously as an admonition and affirmation.

This space allowed for more ambitious projects such as Glenn Ligon's Text Paintings: 1990 - 2004 and Doug Aitken's The Moment.

Further reflecting his interest in the notion of trilogy, each painting relies on three key elements; the silk screened texts by Blanchot, the female figures and hand - drawn phrases such as I Love You Too Much and You Take My Breath Away, which are also the titles of the works.

The works — Minimalist paintings, collages, and prints — are the physical documentation of what is actually a social and performative art practice based on seminal texts such as The Red Badge of Courage, On the Origin of Species, and Invisible Man.

Selections from Albers's own writings, including classic texts such as «On My Painting,» «Color» and «On My Homage to the Square,» mingle with essays by well - known Albers scholars Nicholas Fox Weber («Minimal Means, Maximum Effect») and Jeannette Redensek («On Josef Albers» Painting Materials and Techniques»); meditations by Norwegian artist Dag Erik Elgin («Preparing for Painting to Happen»), Eva Diaz («Jailbreaking Geometric Abstraction,») and Doug Ashford («Dear Josef»); and a collage sequence by Andrea Geyer that pays homage to Albers's prints.

Highly contemporary, the exhibition's title is drawn from a text by the eleventh - century art critic Guo Ruoxu, who uses the phrase «full of peril and weirdness» to describe a painting — among the first recorded instances of such words being used in praise, rather than as condemnation, when describing a work of art.

Opportunity Description: This opportunity is open to all Otis College alumni working in all disciplines, and submissions in every form of two dimensional media are encouraged — such as painting, photography, graphic design, printmaking, and drawing as well as non-traditional forms such as fashion designs, blueprints, commercial art, text, or cartography.

This plays out in colorful text paintings, in which self - help - inspired affirmations — such as «I found myself,» «I see myself in you,» and «To thine own self be true» — are painted both backwards and forwards as if reflecting off one another in a mirror.

Painted on such unconventional materials as mattress fabric, offset wood and a box from a pharmacy, they make up for their scattershot, unrefined nature with a taste of the shape of things to come: raw visages, scrawled text and an obsession with the organisation of space.

Writing on a variety of media, including essays on cinema, painting, sculpture and photography, and texts on artists such as Jay DeFeo, Sharon Lockhart, Kelley Walker, Luisa Lambri, Annette Kelm and Michael Asher, among others, Beshty has been widely published in both books and magazines.

Some of the works included in the exhibition explicitly engage with Eliot and his writing, such as Philip Guston's grim deathbed painting East Coker: T.S.E. (1979); David Jones's painted inscription Nam Sibyllam (1958), made as a gift for Eliot, which combines the text from Petronius that is The Waste Land's epigraph with the opening lines of the poem and other phrases connected to the Grail myth; Graham Sutherland's two Illustrations for T. S. Eliot (1973); and Vibeke Tandberg's The Waste Land (2007), which consists of 36 collages in which the artist has cut out each of the words of the poem, and re-organised them alphabetically and in groups, at once fragmenting Eliot's poem of «broken images» even further and bringing its underlying verbal structure to light.

Paintings such as «Timon of Athens 9» (2012) present imagery such as a faultlessly rendered clock face (the kind you might remember from your elementary school classroom), common letters and bits of text in various typefaces, or a hand holding an arrow.

Despite the wide range of media and styles, the paintings share such characteristics as recurring motifs, bold design, bright color and the use of both imagery and text.

Each begins with a single text line in red paint stating «Gilbert and George say:» followed by a larger font in black spray can paint embracing a melange of subversive slogans such as «BAN RELIGION,» «DECRIMINALISE SEX,» and «FELLATIO FOR ALL».

Wool's signature text paintings, such as an untitled work on paper from 1992 reading HOLE IN YOUR FUCKIN HEAD, may well describe what all the scampering and art - absorbing has done to you, but you can lose yourself in some of the master's more abstract works, such as Maybe Maybe Not (2003), and perhaps achieve a moment of calm amidst the H Queen's storm.

Text from Scott's recent exhibition at the Danforth Museum (MA) describes her work as «Influenced by the aesthetics of contemporary painting, as well as the thrifty and improvised nature of folk art, Susan Scott manipulates traditional painters» materials such as canvas, wood, staples and paint to create an elegant and quirky hybrid of painting and sculpture.»

He had heard through the grapevine that, in rare instances, the acclaimed artist, known for his laconic use of text in paintings, took on such projects «if the words have character,» as Ruscha puts it.

Her research - oriented practice unfolds in the use of a wide variety of media such as sculpture, installation, painting, performance, film, text and also participatory projects and own publications.

Murillo is widely recognized for his large - scale paintings that imply action, performance, and chaos, but are in fact methodically composed of rough - hewn, stitched canvases, which often incorporate fragments of text as well as studio debris such as dirt and dust.

There are several new acquisitions that incorporate light, such as Vernon Fisher's The Coriolis Effect, 1987 for which the green glow of a spiraling florescent tube sitting above the panel surface suggests the painting's title and offers an ominous presence that enhances the narrative text.

The pieces on view in this exhibition represent a diverse range of iconic word - based arrangements including a desktop calendar, diary entries, movie script, and Chinese scrolls, while referencing specific texts such as the Constitution of the United States of America, The New York Times, the Periodic Table, Twitter and authored books, all dovetailed with an array of artistic mediums from fine art prints, painting on paper, and collage; to installation art, aerial sculpture, and video art.

Selections from Albers» own writings, including classic texts such as «On My Painting,» «Color» and «On My Homage to the Square,» mingle with essays by well - known Albers scholars Nicholas Fox Weber («Minimal Means, Maximum Effect») and Jeannette Redensek («On Josef Albers» Painting Materials and Techniques»); meditations by Norwegian artist Dag Erik Elgin («Preparing for Painting to Happen»), Eva Diaz («Jailbreaking Geometric Abstraction») and Doug Ashford («Dear Josef»); and a collage sequence by Andrea Geyer that pays homage to Albers» prints.

His most popular are perhaps his text - based paintings using quotes from renowned individuals such as writers Zora Neale Hurston and James Baldwin, political figure Jesse Jackson, and comic icon Richard Pryor.

«Ruminations about the art / science nexus get coded and translated in my paintings and drawings using diverse source material such as maps, puzzles, diagrams, graphs, landscape photos and text.»

His text paintings were the result: thick, opaque canvases that reproduce the writings of such African - Americans as James Baldwin, Ralph Ellison or Zora Neale Hurston.

Over the years his ideas have been expressed in such different media that this commission, this cause celebre for Tate Britain, could have been anything from sculpture and photography to video, painting or text.

Writ large in scrawling loose paint and charcoal, Bernstein's wry engagement with text — Uncle Sam Balls Vietnam and Gets V.D. not V.C. (Venereal Disease not Viet Cong)-- evoked the crude gonzo aesthetics of artists such as R. Crumb and Wally Hedrick, presaging the later linguistic permutations of raconteurs like Jean - Michel Basquiat and Raymond Pettibone.

Mr. Vidal's own chromatic text and image - based paintings, which evoke the works of historic colorists such as Henri Matisse and Ernst Ludwig Kirchner, appear jubilant at first blush, but a further examination of his work reveals painted - over machetes and other munitions that Portugal forged in order to extinguish uprisings in Angola.

Even works produced in traditional, single, low - or no - tech media, such as Sue Williams» paintings and sculptures, Karen Kilimnick's drawings and Glenn Ligon's photographs, refuse the purist's demands for an exclusively visual experience: all are text heavy.

Glenn Ligon discusses texts and cultural events, such as the writings of James Baldwin and the Million Man March, that inspired some of his paintings.

Today's Exclusive features Glenn Ligon discussing texts and cultural events, such as the writings of James Baldwin and the Million Man March, that inspired some of his paintings.

Reinvesting traditional art historical genres (still life, portraits, nudes, landscapes, and interiors) with an abundance of rich and surprising forms — such as cast sculptures and assemblages, paintings, digital montages, spatial installations, kinetic objects, and texts — he ceaselessly explores the intersection of art and everyday life.

In the early 1970s, Samaras introduced series of text paintings that spell out punchy, iconic words such as: WORK, EXIT, DEAD, here represented by «DRAW - Untitled # 17» (1975).

This text, too, partakes of tropes intrinsic to the manifesto, such as the anaphoric repetition at the end of various paragraphs: «The painting must go.»

Dave Muller makes interesting use of text in his work, calling to mind Ruscha's sign paintings in works such as Sprawling (Hollywood)(2002).

Best known for reinterpreting iconic paintings by artists such as Courbet, Goya, Corot and Vermeer, Deem also produced a large body of paintings and works on paper that present text as subject matter.

Flood has been making his lace paintings since the early 90s; their process of manufacture and slightly kitschy image derived from actual lace encourages us to look at these seductive beauties with a jaundiced eye; 2) The exhibition includes site - specific installations made of absurd pseudo-posters, multi-media, ephemera, collages, text paintings, and documents from the last decade that remix pop culture and critique systems of mass cultural distributions such as rock videos and albums.

(curated by David Reed and Lawrence Luhring in 1984 at the New York Studio School, with an illuminating text by John Yau), which included paintings by Forrest Bess, Alfred Jensen, and Myron Stout; such a diverse collection of uncompromising spirits seemed to bring a closer understanding of the vision of each artist, which was embodied not only in the particularities of specific symbols, but also in the quality of picture surfaces.

Some of the earlier works incorporate elements of collage including objects such as d'oyleys and felt lettering, while more recently painted text has become the primary object of investigation.