Sentences with phrase «think of abstract painting»

It was really interesting for me to think of abstract painting as a trail.

I expect Clem was ready to dismiss any thought of abstract painting being without a purpose or of uncertain historical usefulness.

Not exact matches

He'll let us paint our portraits of him, and I think he looks with delight on each one, whether they are finely honed photorealism, impressionism, or finger - painted abstract portraits that put an eyeball where a chin should be and use purple when he really should have been green.

Corbett remarks: «I think he was after the dream of the abstract painters, which was to make drawing and painting one.

Whatever one thinks of his taste and particular aesthetic, in making abstract painting meaningful when it seemed irrelevant, he was a true champion of the medium.»

The sudden fusion of these disparate schools of thought and technique would birth a wide body of new works and approaches to painting and sculpture, with artists like Klee and Miró driving forward radical new ideologies in the creation of abstract works.»

In leaving the exhibition, my thoughts keep returning to the three small paintings and how abstract painting has uniquely developed through the guidance of creator.

Moving from figurative to abstract painting, British painter Cecily Brown thinks about the qualities of paint itself:» When the body disappears it's almost like there's no» there» there,» she explains.»

If you think «Eight Movements,» the title of Liat Yossifor's latest exhibition of paintings, sounds more like the title of a Philip Glass recording or the latest release by Steve Reich, you're already onto the idea behind the Israeli artist's stark and highly textural abstract works.

It makes me think of everything from abstract painting and Sam Gilliam, the noted African American painter, to Southern rural quilting and the homeless on the streets of Manhattan.

«Among the wildly disparate features of today's art - world landscape, two modes of pictorial thought with venerable lineages have recently re-emerged: materials - oriented abstract painting, and a linear approach to the investigation of the third dimension that may conveniently be referred to as «drawing in space.»

And I was continually thinking back to the abstract painting, and those years, and it seemed to me that things just flowed so freely, and it was kind of invention and — what's the word I want?

«In that first painting, I was wrestling with what I originally thought of as the coldness of Minimalism and the more emotional, abstract expressionist painting style I'd grown up with.

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.

I don't think it is necessary to frame this as nostalgic or an historical allusion, rather it seems to take up a bit of the technology of painting that most abstract painting had thrown out.

I think the skeptics, at least over the past five years or so, were proven right with regard to the artists who are making abstract paintings that are perfect for the way they are consumed: They make a lot of them, there's a green one and a blue one and a pink one, and you can collect them all like toys in a Cracker Jack box, which is what they're all about.

Curator Gary Garrels worked with six abstract painters — Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool — to select one of their own recent paintings as well as works by other artists who have influenced their thinking.

With Julie Mehretu and, in the galleries, Pat Steir and Ernst Haas, need one even think of abstract art as painting and drawing?

Thinking about issues of global awareness, Kunik's first body of abstract paintings dealt with the environment; more specifically rain forest deforestation.

«In that first [spot] painting, I was wrestling with what I originally thought of as the coldness of Minimalism and the more emotional, abstract expressionist painting style I'd grown up with.

One can think of him as a sculptural equivalent of Josef Albers in the abstract painting of Homage to the Square.

I think it is also important to remember that abstract painting is not terribly old as painting goes and part of this experiment was due to the fact that this represented something new in painting.

JEThe title comes from the critic James Schuyler, who wrote in a review of her 1960 retrospective that «part of Miss Frankenthaler's special courage was in going against the think - tough and paint - tough grain of New York School abstract painting.»

Another Thought, a series of abstract paintings by Australian artist Caroline Walls.

Think of an Ellsworth Kelly: an abstract consideration of the relationship between figure and ground; a conscious questioning of the conditions that underlie perception; an exploration of the relationship of painting and wall, sculpture and space, viewer and work.

Bringing together three painters with distinct oeuvres — that have been, at times, linked to the legacy of German painting, or even of Albert Oehlen himself — the panel will consider abstract painting in relation to other contemporary manifestations of abstraction in economics (market speculation), philosophy (anti-essentialist thought, questions around the structure of time, semiotics), digital culture (sampling, rendering), and aesthetics more generally (considerations of form, the notion of style).

Moving from art - school grad to accomplished young artist - his shows include Kavi Gupta gallery, Chicago's Museum of Contemporary Art, a recent attention grabbing appearance at Art Basel Miami Beach as well as an upcoming solo at New York's Lehmann Maupin Gallery - Otero quickly became a virtuoso of the newfangled mash up of abstract and figurative painting that constitutes today's new Nouveau Realisme (think Mark Bradford sans the racial essentialism).

Lambri's carefully composed and thought - out works evoke art - historical traditions of minimalism and abstract painting, and therefore, her images often display Modernist ideals of framing, abstraction, and transcendence.

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.

GLENN O'BRIEN — I think one of the key differences with abstract painting is that the idea of beauty was still very much there.

Viewing the pieces in «Outer Life,» at Praxis, it's easy to think of Frank Stella's early geometric paintings or even Piet Mondrian's abstract streets or Jasper Johns's targets.

WW: I saw a talk with you and Thelma Golden, and something I thought was interesting was you said, «I don't believe the rhetoric around abstract painting,» which I took to mean as you simplify interpretation of your work as a way of approaching it.

The pieces in Push Play fillet consumer culture and generate more critical thinking and a sense of cooperation than, say, an abstract painting might.

Facets of the Figure is a thought provoking survey of the various aesthetic interpretations of the human form in painting and sculpture by juxtaposing museum - caliber works by Surrealists, realists, Expressionists, modernists, social realists, and abstract expressionists.

It's casting its stone a long way out, I feel, and the potential gains of this sort of endeavour, to deny the plane in abstract painting, is something that could and has been guffawed at, but I think is a really interesting and worthwhile thing to attempt.

I don't think of them as abstract paintings in the landscape, I think of bringing color to the landscape and making marks that would be gestures in relation to the space around me.

In this exhibition six contemporary abstract painters — Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool — were asked to select one or two of their recent paintings to be shown alongside works by other artists who have had a significant impact on their thinking and the development of their practice.

I've been thinking about European abstract painting from the turn of the century.

I get the feeling looking at this painting, that I am looking at a field of action that exists behind the plane of the canvas, and I think that is an extremely interesting thing for an abstract painting to be doing, if indeed it remains just that, an abstract painting.

«Mal Maison,» organized by Ashton Cooper, brings together a diverse group of artists, among them Keltie Ferris, Simone Leigh and Shinique Smith, whose approach to the portrayal of the female form draws on queer and post-colonial thought in abstract and materials - based paintings and sculptures.

This is a thoughtful and blessedly jargon - free trip back to the days when American women began to think, act and express themselves in ways which were very different from their mothers, Having some of the work to see along with the words sends home the message that these paintings remain intriguing, challenging and vital to the understanding of abstract expressionism in the US.

Assuming that my perceptions of Anne Smart and John Pollard's paintings have any accuracy, a comparison between my account of their work and Pollock's reveals that an enormous shift in thinking about abstract art has taken place.

Any thought that Richard Wright's Turner - prize - winning fresco — an exquisite abstract work in gold leaf — ought to be saved for posterity can be abandoned: Tate Britain's art handlers sanded and painted over the work at the end of last week, following the closure of the Turner prize exhibition.

I always think of the Yasmina Reza play «Art» when I see a Fontana (one of his slashed canvasses served as the book's cover) about a bourgeois man whose relationships crumble after he buys an all - white abstract painting that divides the opinions of his friends.

Whatever you may think about this critique of current tendencies in abstract painting, it seems that all is not well in the world -LSB-.....]

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.»

I think that keeps it from falling into an illustrative kind of place, it was basically a purely abstract painting first.

Think of «Global Feminisms» or the summer's abstract painting at the Guggenheim.

Think abstract artists and beatniks in downtown Manhattan, Peggy Guggenheim and her new gallery Art of this Century, cocktail parties on the Upper East Side, Pollock's drip paintings, jazz, beat poetry, dancing the jitterbug and sipping Martinis at the Savoy as we celebrate the era when New York overtook Paris as the capital of the art world.

Research has shown that people are more comfortable with figurative art than with abstract initially — of course that can change over time — when I learned that and looked at the collection, it was almost all abstract painting, and I thought we might be alienating, there need to be more entry points,» says Roberts.