Sentences with phrase «traditions of fine art painting»

Second, in contrast to many of the traditions of fine art painting but firmly in keeping with Dada philosophy, he believed that art could be made out of anything, no matter how low - brow or trivial.

Not exact matches

Af Klint is now finally credited with making the first non-objective painting in the Western fine - art tradition, and it is both her grand imagination and sense of purpose, and the idea of how histories are and can be constantly re-written, that has informed and inspired McElheny's new works.

1994 46th Annual American Academy Purchase Exhibition, American Academy of Arts and Letters, New York, NY Abstraction: A Tradition of Collecting in Miami, Center of the Fine Arts, Miami, FL Gallery Artists, Lennon, Weinberg, Inc., New York, NY Works on Paper Group Exhibition, Manny Silverman Gallery, Los Angeles, CA Jean Outland Chrysler Collection of Abstract Expressionist Paintings, Muscarelle Museum of Art, Williamsburg, VA New York — Providence: The 50's Connection, Provincetown Art Association, Provincetown, MA

As a young man, Che studied Fine Arts at National Taiwan Normal University, where he was taught about the Eastern traditions of painting.

Xie Molin combines two traditions in his machine - generated abstract paintings: his classical training in fine arts and his use of a tri-axial linkage painting machine, continuing his father's legacy as an engineer.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woArt's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woart history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woArt in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

1994 Possible Things, Bardamu Gallery, New York, USA (Vik Muniz, Curator) Choice, Chance and Irony, Todd Gallery, London; John Hansard Gallery, University of Southampton, England Unbound: Possibilities in Painting, Hayward Gallery, London, England (Greg Hilty and Adrian Searle, Curators) Le Temps D'Un Dessin, Galerie De L'École Des Beaux - Arts, Lorient, France, (Phillippe Briet, Curator) Written / Spoken / Drawn in Lacanian Ink, Thread Waxing Space, New York, USA Bravin Post Lee, New York, USA Painting, Rhona Hoffman, Chicago, USA About Color, Charles Cowles, New York, USA 8 Rooms for Paiting, Galeri F15 Alby, Moss, Norway (Gertrud Sandquist, Curator) Summer Exhibition, Sperone Westwater, New York, USA The Assertive Image: Artists of the Eighties from the Eli Broad Family Foundation, U.C.L.A. at the Armand Hammer Museum of Art, Los Angeles, USA Abstract Works on Paper, Robert Miller, New York, USA On Paper, Schmidt Contemporary Art, Saint Louis, USA Abstraction: A Tradition of Collecting, Center for the Fine Arts, Miami, USA American Paining Now, Galleries Caterina Fossati, Eva Menzio, Giovanni Rimoldi, Turin, Italy Tutti Questi Mondi, Galleria Carini, Prato, Italy

American Drawings and Watercolors of the Twentieth Century, Selections from the Whitney Museum of American Art, Whitney Museum of American Art, New York, 1987 American Traditions in Watercolor, The Worcester Art Museum, Massachusetts, 1987 Contemporary Works on Paper, Vivian Horan Fine Art, New York, 1987 The Monumental Image, Sonoma University, California, 1987 (Catalogue) Post-war Paintings from Brandeis University, Rose Art Museum, Brandeis University, Waltham, Massachusetts, 1987 Legacy of Light, International Center of Photography, New York, November 20, 1987 — January 8, 1988.

It takes a provocative look at how photographers use fine art traditions, including Old Master painting, to explore and justify the possibilities of their art.

This list of important artists associated with England (mainly London) during the 18th and 19th centuries, features the two major fine arts traditions of English Figurative Painting and English Landscape Painting.

The exhibition, specially curated by Rebecca Hossack, builds upon the gallery's tradition, sustained over twenty - five years, of exhibiting in London the very finest Aboriginal art as well as the most exciting Australian contemporary painting.

With awareness of how her floor - based installations draw from classic traditions of fine art, Apfelbaum defines staining and dyeing as an act of painting; cutting, a way of drawing in space; and assembling the cut pieces a sculptural practice.

Toby Kamps, Director and Chief Curator of the Blaffer Art Museum, Houston and curator for the section Spotlight talks about its incarnation at Frieze New York 2018, with themes and through - lines including abstract painting, Conceptualism, African diaspora traditions, and West Coast artists; Kamps alights on two fascinating artists whose careers are brought to light this year in the section: Cameron (1922 - 1995), presented jointly by Marc Selwyn Fine Art and Nicole Klagsbrun and Mestre Didi (1917 - 2013), presented by Galeria Marilia Razuk.

Including: «A Pictorial Encyclopedia of The Oriental Arts» 2 vols in slipcase, edited by Shoten, publ by Crown; «Oriental Cloisonne and Other Enamels» by Chu; «Japanese and Oriental Ceramics» by Gorham; «Half the World», edited by Toynbee; «Chinese Jade of Five Centuries» by Hartman; «Chinese Export Porcelain» by Lunsingh - Scheurler; «Treasures of Chinese Glass Work Shops» by Asiantiques; «A History of Far Eastern Art» by Lee; «The Art of Japan» by Kidder; «Japan: A History in Art» by Smith; «China: A History in Art» by Smith & Weng; «Jade of the East» by Wills; «Wolf Kahn, Paintings & Pastels», 2 vols in slipcase, Ameringer - Yohe Fine Art; «Near Eastern Mythology» by Hamlyn; «Vasarely» by Diehl; «The Drawings of Milton Avery» by Taplinger; «Milton Avery» by Haskell; «Wolf Kahn, Landscape Painter» by Sawin; «Wolf Kahn, The City as Landscape» by Ameringer / McEnery / Yohe; «Hans Hofmann», ibid; «Picasso at Work at Home» by Schiff; «Wondrous Strange, The Wyeth Tradition»; «Fletcher Martin» by Cooke; PLUS (14 vols set) Cooper - Hewitt Museum Art & Antique Guidebooks; PLUS several gallery exhibition catalogs.Read more

An explorer of multiculturalism, British artist is well - known for his depictions of traditional Japanese female entertainers or geishas, capturing their femininity and sensuality through a unique mix of seemingly incompatible themes and aesthetics likes traditional fine art painting and «messier» Western traditions like action painting and graffiti, combined in such a way that it feels incredibly natural.