Sentences with phrase «think of action painting»

When I see your work I think of action painting — or maybe, «action sculpting,» in your case.

ArtsATL: You often talk about the «immediate present» in your work, especially with the environmental paintings, which makes me think of action painting in the 1950s and the contemporary idea of focusing on the «present moment» as a stress - reducing mental exercise.

Not exact matches

His technique of pouring and dripping paint is thought to be one of the origins of the term action painting.

Pollock's technique of pouring and dripping paint is thought to be one of the origins of the term action painting.

For example, I think of painting as a stage set on which symbolic action is performed.

Think of it as action painting without the action or what Pierre Soulages called «beyond black.»

Noland and Louis recognized almost immediately that the technique of staining -LRB-»... a way to think about and use color») was also a means of eliminating gesture and drawing, hallmarks of «action painting» which had dominated American at for a decade.

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.

The label action painting codified the idea of art as a window onto the artist's thought processes.

Think of Pollock's «action painting» as a performance, Rothko's canvases as stage curtains or magician's mirrors best viewed half a room away.

My first thought was: «painting as a pie in the face,» a mash - up of Pop and Harold Rosenberg's Action Ppainting as a pie in the face,» a mash - up of Pop and Harold Rosenberg's Action PaintingPainting.

It is a painting which is drafting in its own surface the pendulum movement rocking between thought and action, while revealing its own mechanism of creation and erasure.

If you think of New York as a character, that's in action all the time, I wanted to make paintings about the life of the city, the way it moves... the weather, the movement and my movement.

This filtering technique is also evident in Grosse's recent canvas works, where stencils are placed over areas of the canvas at various stages of the painting process, resulting in chromatic layers that record her thoughts and actions.

Lydia Gifford's artistic research is an enquiry of the language and possibilities of painting, of painterly thought, which are subsequently allocated and transposed by means of subtle actions, gestures, ideas and processes into a physical space.

But the canvases vary wildly from one to the next — using her tried - and - true vehicles of action and comparison, Fiona Rae's recent paintings stretch from the pastoral «We go in search of our dream» (2007), featuring a bambi and butterfly peacefully grazing at the foot of a tree, to the nihilistic and menacing «My favorite puppy's Life» (2004), in which a now mutated bambi triskelion hurtles through the dark reaches of space, surrounded by rotating stencils, blobs, and brushstrokes (think of the opening sequence of Superman).

Pellizzi: They obviously refer to action painting, but the elements that are particular to this project, I think, are the fact that it transposes the action from enacting a painting into the action that is making the object, and the fact that the action is tied up with past and present politics — the politics of the border and our identities as being both Mexican and American, and ----

From drawings made with stationary to paintings of low - paying jobs and images of business interiors and exteriors, these artworks document where we work and meditate on how our environment controls or stimulates our actions, thoughts and imagination.

KL: Sidebar: it's funny to think of you collecting all of this detritus and then putting it in your paintings, as an act of gathering little consciousness points and relating that action to collectivity.

McLean has participated in many major international exhibitions since the 1960s, highlights include: When Attitudes Become Form, Kunsthalle, Bern (1969); Information, Museum of Modern Art, New York (1970); The British Avant Garde, New York Cultural Centre (1971); Documenta 6, Kassel (1977); Art in the Seventies, Venice Biennale (1980); A New Spirit in Painting, Royal Academy, London; Zeitgeist, Martin - Gropius - Bau, Berlin (1982); Documenta 7, Museum Fredericianum, Kassel (1982); Thought and Action, Laforet Museum, Tokyo (1983); The Critical Eye, Yale Centre for British Art, New Haven (1984); Out of Actions; Between Performance and the Object, 1949 - 79, Museum of Contemporary Art, Los Angeles (1997); Bruce McLean and William Alsop, Two Chairs, Milton Keynes Gallery (2002) and Body and Void: Echoes of Moore in Contemporary Art, The Henry Moore Foundation, Hertfordshire (2014).

What is left on the surface of the paintings, after the sanding away, are remnants of thought and actions, and their impressions left on the surface.

I don't think it is just my playing with the title of the exhibition that leads me to pay attention to the edges of many of the paintings here, sometimes as if the action gets pushed outwards, as in Andrew Graves audacious painting Tomorrow.