Sentences with phrase «texts on abstract painting»

Golden Age features critical texts on abstract painting by Lane Relyea, David Geers, and Gregory Sholette in an attempt to summarize existing conversations about the eternal returns of abstract painting and how to further the impact, agency and relevance of contemporary art practices.

Not exact matches

When Tom Wolfe called his polemic on modern art The Painted Word, he was thinking not of artists» books, but of post-1945 abstract expressionism and its enshrinement of theory and text.

For this project, Richter photographed 216 details of his abstract painting «No. 648 - 2» (1987), and, working on a long table over a period of several weeks, combined these 4 x 6 - inch details with 165 texts on the Iraq war, published in the German Frankfurter Allgemeine Zeitung newspaper on the dates of the war's outbreak (March 20 and 21, 2003).

Before she began working with text art, Holzer was an abstract artist, focusing on painting and printmaking.

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.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezePaintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings reimagine the still life as a chance freeze - frame.

With an unwieldy subject thus reduced to manageable scale, the intimate dimensions of each canvas — approximately three by two feet — prove more than adequate for the artist's personal ruminations on a primeval atmosphere, allowing her to expend less effort on referencing specific aspects of the text and focus instead on abstract painting's inherent immediacy.

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.

Holzer was originally an abstract artist, focusing on painting and printmaking, but after moving to New York City in 1977, she began working with text as art.

see abstract snatches of Lund's Strings Attached, a series of 24 text - based paintings on fabric wallpaper, or The Paintshow, an exhibition Lund did that features paintings made on his Microsoft Paint - like website, Paintshop.biz.

«Push and Pull» features SCAD Atlanta foundation studies professor Marcia Cohen's «Summer Reading» series of abstract compositions on shaped canvases; SCAD Atlanta painting program coordinator Tom Francis» gestural text - based paintings; and SCAD Savannah ceramics program coordinator Yves Paquette's reinterpretations of the shapes and color of antique French Sèvres porcelain in his «L'hiver bleu» series of ceramic sculptures.

One of its leaders, Wassily Kandinsky (1866 - 1944) published a book entitled «On The Spirtual In Art» (1911), which became the foundation text of abstract painting.

I made these huge abstract paintings with enamel on drop cloth in my backyard, works with text, and deconstructed figures — searching for a voice.

The works on view, ranging from abstract paintings or vinyl wall texts, are all functional vessels of political expression, albeit ones that refuse to transfer all their meaning in one go.

If one's not going to make icons — like Peter Halley or Ashley Bickerton, where there seems to be a very specific reading, a prime text — you get the same subjectivity or disjunction that took place with late abstract expressionism where eventually the maker, on an existential level, put his whole being into these paintings; and the viewer looked at them formally.

Often times, text is integrated into the image and sometimes the text appears to be squeezed out of the tube on top of an abstract compositionâ $ «your paintings «YYY» and «Land Grab» come to mind.