Sentences with phrase «trace of the living artist»

The canvas plays obviously with the painted gesture, but the blankness of the image denies its own trace of the living artist.

Not exact matches

The consistent, idiosyncratic style of writer / director Wes Anderson with composer Mark Mothersbaugh is also traced in Criterion's superb 2 - disc release of The Life Aquatic With Steve Zissou, which contains a 20 + minute featurette on composer, plus a gallery of unedited musical performances in Portuguese by Brazilian recording artist and actor, Seu Jorge.

In tracing the evolution of Joyce's art, Bowker also hints at the dark recesses of the artist's psyche, defending his psycho - reading of Joyce's fiction as the only way to plumb the turbid inner life of an often mystifying man.

This art - filled work combines glimpses into Marc Chagall's paintings with factual details and evocative poems that trace the distinctive life path of the artist.

Brad Meltzer's latest thriller, The Escape Artist, traces the troubling arc of the very much alive Nola's existence, flashing back to her traumatic childhood and adolescent years, and then forward once again to present day, when she is running for her life from a band of deadly conspirators operating under the moniker of Operation Bluebook.

Forty - four sumptuous canvases, along with related objects, trace the artist's journey from painting still lifes in intimate interiors in the late 1920s, to vibrant, large - scale spaces in the 1930s, to more personal interpretations of daily life in the 1940s.

The 30 - minute film, which is well worth a full watch, traces the life of artist Flora Mayo, Giacometti's contemporary and lover.

The artist's approach to painting includes utilizing the most intimate material residues of life — textiles, texts, and traces of objects — all transformed into active fields of energy, empathy and history.

Arthur Dove traces the artist's career from the Fauvist - inspired Still Life Against Flowered Wall Paper (1909) to the monumental Flat Surfaces (1946), painted in the year of the artist's death.

But her scenes of domestic life carry deep complexities in both form and content, tracing the artist's personal history as an immigrant, as a woman, and as an artist to create arresting depictions of intimate life: whether it's a shared quiet moment with her husband (Her Widening Gyre, 2011) or a table set for tea (Tea Time in New Haven, Enugu, 2013).

We knew that the show couldn't be an exhaustive survey of self - portraiture but we started by thinking about the Van Dyck painting and what makes it so important: the fact that the artist caused such a seismic shift in the approach to portraiture in the 17th century that was to last for at least the next three centuries; that his portraits were a form of «self - advertisement» and show an acute awareness of his identity and public image as a successful artist; that it was his final self - portrait, made in the last year of his life at the age of 42 and that his various self - portraits (there are seven known in total) trace his life as an artist.

The exhibition, curated by Jesús Fuenmayor, is an investigation that explores the architectural fictions that can be traced in the industrial and decorative arts of cities world - wide and in particular the artist's home base of Los Angeles and the exhbiition's context in Buenos Aires, including Faena Art Center's previous life, as an old flour mill.

This publication traces the trajectory of Latham's practice and brings together archival material, including documentary photographs, texts, correspondences and various ephemera, in order to build a picture of the artist's life and work.

While the artist has eliminated (or temporarily set aside, as time will tell) all but traces of narrative from her working method in larger canvases, she continues to paint heads, roughly life - sized (though this show includes none).

Each image captures a moment staged by the artist, traces of his early creative life.

The middle panel alludes to the indexical trace of a fingerprint, similar to Rauschenberg's 1964 Self - Portrait (for «The New Yorker» Profile), also included in this exhibition, with a spiral - patterned text that documents significant events of Rauschenberg's life and artistic career, centering on a photograph of the artist as a child surrounded by his family.

Later films like Form Phrases IV, 1954, sees the artist incorporating found imagery into this mix of animated video.Later films such as Fuji, 1974, saw Breer use a rotoscope device which enabled him trace live movement with each frame.

By tracing the common links between humanity and history, these forthcoming artists highlight the both abstract and realistic dimensions of daily life.

Using the shadow - subjects of cyanotypes and the full body casts of sculpture - figures, the artist records a rapidly disappearing street life: Depicting the hyper — realist, monumental nature, of urban «survivors» — both human and vegetative — he steadfastly chronicles big city change and traces what remains.

The artist's large - scale sculptures reveal the trace of the human hand and suggest her early recollections of being surrounded by wooden walls, tools, and utensils as a child living in wartime labor and refugee camps in Germany after her family was forced to leave Poland.

Showcasing over 100 drawings, prints, sculptures and studio items from the Henry Moore Foundation collection, the exhibition examines the artist's life - long interest in nature and traces the process of transformation from object to drawing to finished sculpture.

Institutional Garbage (Spring 2018) presents the administrative residue of imaginary public institutions produced by artists, writers, and curators, in an effort to trace the private life of institutional endeavors.

Tracing the artistic development of the British Surrealist artist and writer while she lived in Mexico (which became her lifelong home after she took refuge there in the 1940s), this exhibition consists of 180 paintings, sculptures, drawings, textiles, books and other documents.

Krishnapriya Tharmakrishnar (b. 1987) （ Image: Impression 2 - 1, 2015, Nail drawing on tracing paper ） is an emerging artist lives and works in the northern Sri Lankan city of Jaffna, Sri Lanka, which experienced fierce fighting during the civil war from the early 1980s.

The hefty catalog traces the artist's journey over five decades — evocative street photography, desolate Los Angeles cityscapes, color candids, still lifes featuring artifacts of indigents — all joined by Hernandez's social conscience and compositional grace.

Expanding upon the ideas he laid out in The United States of Jasper Johns, published in 1996 by Zoland Books, Yau traces the ways that the artist's work conveys a connection to the common experience — a «sense of life» that encompasses thoughts, memory, consumption, excretion, life, death, time and mortality.

While as curators we seek to leave a trace, it is through the horizontal loyalty of our peers, predecessors, and progeny that we can assure our advocacy, and by extension the work of artists, lives on.

It includes documentary and family photographs from the artist's youth, as well as reproductions of artworks that are traced to specific times and places during her life.

Bonniers Konsthall first exhibited Andreas Eriksson's work in Life Forms in 2009, one of our first group exhibitions that, through contemporary art, sought traces of the American artist Robert Smithson's thoughts on a greater geological time outside of mankind's quickly ticking clock.

The retrospective largely traces nearly four decades of the artist's paintings of black figures, and pictures a contemporary, vast, and localized history of black American life.

«There are a few artists who are making live action that is based in sculpture, but what sets him apart is his purist insistence on the immateriality — or ephemeral materiality — of the work, so it crystallizes and disperses again, so there is no trace left at all.»

Also on at Vilma Gold running for the same period will be an exhibition of work by Lynn Hershman Leeson, Lynn Turning into Roberta, referencing the time the artist spent four years in the mid 1970s moving her physical persona and her life's traces into that of another fictional being constructed and called Roberta Breitmore.

In Still Life, shot in black and white, appear lines that criss - cross the worksheets of the artist, who used to trace on them the exact positions of the objects he was going to paint.

Spanning work made from the 1950s to the end of the artist's life, this survey traces Maria Lassnig's evolution from early experiments with abstraction to a richly inventive figuration and the refinement of her «body awareness» paintings, in which she captured physical sensation as felt from within.

Coming up is the museum's first major exhibition of a contemporary Chinese artist, a show featuring three O`ahu - based artists who express the impact of the Chinese Cultural Revolution on their lives, a collaboration with the University of Hawai`i that presents contemporary Japanese artists using traditional techniques, a history - tracing exhibition by Los Angeles — based textile artist Karen Hampton, a look at First Hawaiian Bank's collection, and the debut of a newly restored volcano painting by Charles Furneaux.

Howardena Pindell: What Remains to Be Seen traces the themes and visual experiments that run through the New York — based artist's five decades - long career, featuring early figurative paintings, pure abstraction and conceptual works, and personal and political art that emerged in the aftermath of a life - threatening car accident in 1979.

Spanning work made from the 1950s to the end of the artist's life, this survey traces Lassnig's evolution from early experiments with abstraction to a richly inventive figuration and the refinement of her «body awareness» paintings, in which she captured physical sensation as felt from within.

Translating the street into a physical realm, German artist Delia Jürgens» sculptural installation uses everyday material to look at the traces of life.

Originated by Armory Center for the Arts, Los Angeles, this exhibition traces Rauschenberg's innovations at Gemini with over 50 editions of images inspired by memories from the artist's own life as well as events from the broader cultural landscape that changed with increasing rapidity after World War II.

Illustrations of key works are supplemented by comparative images by different artists, sometimes in different periods, while short texts offer a biography of each artwork, tracing its inception and impact, and offering a view not only into the imagination of the artist but into the age in which we live.

The Kuwaiti - Palestinian artist's latest exhibition examines the traces of lives left behind in the so - called doomed Al Sawaber housing estate in Kuwait.