Sentences with phrase «theoretical approaches to painting»

provides students the opportunity to explore the technical, formal, historical and theoretical approaches to painting through a combination of studio and art history courses.

Over the past four decades, Peter Halley has pursued a rigorous, theoretical approach to painting that takes influence f...

Not exact matches

This exhibition explores the relationship between philosophical and art - theoretical principles that are central to Coventry's approach to making art, and questions the deontological concept that the value of a painting does not depend on external factors but rather on the way it has been executed.

Taking a monochromatic grey palette as its organizing principle and aesthetic theoretical vehicle, this exhibition reveals the emergence of that which subtracts or divides — a polemics of black and white or the search for a middle ground, a shade of grey — in the work of artists from around the globe: including Shiva Ahmadi, Yasima Alaoui, Ayad Alkadhi, Afruz Amighi, Reza Aramesh, Shoja Azari & Shahram Karimi, Bruce High Quality Foundation, Dilip Chobisa, Seth Cameron, Arthur Carter, Noor Ali Chagani, Nick Farhi, Nir Hod, Rachael Lee Hovanian, Joseph Kosuth, Liane Lang, Farideh Lashai, Shirin Neshat, Enoc Perez, and Dan Witz, Grisaille: originally derived from a 19th century term for monochrome painting, especially the portrayal of three dimensional objects in two dimensional form, of which the work of British based Liane Lang in this exhibition approaches the closest contemporary example of this art historical origin, the gris or grisaille is updated in this exhibition to reflect the embattled gesture of not simply the monochromatic, but also any opposition to color as such, in at once its aesthetic and political modes.

In the 1950s, while the NYC Abstract Expressionists approached painting like a theoretical chess game, often reducing their investigations to a single trope (Pollock — spatter, Rothko — Sfumato, etc.), painters in France continued to explore the possibilities, rather than the limitations, inherent in the medium.

His approach to color is less theoretical and more empirical as evidenced by his highly systematic approach to painting over the past four plus decades.