Sentences with phrase «use figuration»

These artists use figuration to create scenes of solitude, power, intimacy or vulnerability that implicate the viewer as either intruder or audience.

Bright, fun and colorful slab constructions mimic traditional ceramic vessels and sculptural wall platters use figuration and pattern to draw narratives dealing with family dynamics and power structures.

Jim Shaw uses figuration to create worlds and tell stories; Chris Martin revisits a more spiritual side of art making; and Klaas Kloosterboer questions what a painting is and how it should behave.

Baselitz and his German peers — including Sigmar Polke, Gerhard Richter, Anselm Kiefer, and Neo Rauch — used figuration to explore the material, political, and sexual bases of humanity.

In this body of work, Saar uses figuration to weave narratives relating to the Great Mississippi Flood of 1927, sourcing inspiration from historical documentation, mythology, poetry and music.

Not exact matches

Through exuberant works that sometimes engage the heroic gesture or make use of pop imagery, artists explored the traditions of figuration and history paintings and offered new interpretations of abstraction.

Although his approach remained Ab - Ex in spirit and attack, McNeil's use of figuration activated his painting, transmogrifying Pollock's decorative swirls into something resembling life.

He is considering a show on the use of palette knife techniques, which enabled artists like Jean Dubuffet and Twombly to develop their figuration.

Jill Weisberg uses nail polish on vintage adult magazine pages that blurs between figuration and abstraction, repulsion and desire.

Associating his influences with Social Realists «he fell in with» when he arrived in New York, Sims describes them as «a cohort of individuals who bridged the gap between abstraction and figuration... the use of energetic color and gesture, and a sensibility that would be described as gritty.»

Their use of abstraction and figuration, and, in Caro's case, welded and painted steel, shaped and reflected the development of modernity in the 20th century.

Ben Berlow, Mark Grotjahn and Kirsten Nash use drawing to complicate the relationship between abstraction and figuration.

These artists use the gesture in a rapid and brushy manner to draw, evoke movement and direction or make a bold and declarative statement, either purely nonrepresentational or in figuration.

In «Meta - Modern» practice there is extension and deconstruction of formalism, which blurs lines between abstraction and figuration, and employs the use of non-traditional with traditional painting materials, which is found in much of Vernacular art.

Organized by the Pennsylvania Academy of the Fine Arts (PAFA), Procession considers the complexity of Lewis's art in its entirety, examining his use of figuration within his abstract expressionist style, his ability to integrate social issues and abstraction, and the surprising and expressive palette he championed throughout his career.

Moving away from figuration, Judd used line, first curved and then straight, repetition, shape, and color.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Beyond bronze, he roamed through the history of sculpture and its materials, carving in stone, working in ceramics, moving between abstraction and figuration and occasionally even using found objects.

«While his contemporaries in Leipzig are using paint to explore the various forms of figuration that characterise their «school», over in Berlin, Anselm Reyle has been doing the opposite: revisiting the pioneering abstract work of people like Otto Freundlich, Barnett Newman, Ellsworth Kelly and Kenneth Noland, and giving it a disco treatment of neon, tin foil and glitter.

Previously, White had used a more angular and stylized figuration that reflected his experience in the WPA and the influence of Mexican muralists.

«Mondrian and Colour» explores Mondrian's (1872 — 1944) practice, tracing his use of colour from figuration to early abstraction.

A style characterized by large, highly simplified compositions in which the use of color is independent of line and figuration.

Painting styles range from Classical Painting styles to abstract figuration and paintings that make use of surrealism.

Along with well - selected illustrations of works in different media, the catalogue traces Sillman's early exploration of cartoon imagery and the associative use of colors, her struggle for the unity of the physical legitimacy of the objects and the human body, her equally shared interest in figuration and abstraction, her attempts to reduce images that evoke the ambiguity of singular gestures in flux that are emphatically stable, and her «zines» and recent forays into drawings made with an iPhone.

Illustrated with works by the contributing artists, this publication covers every facet of sculpture today: the processes used to create it, its various means of figuration and the growing number of exhibition venues now devoted to the medium.

All of the polarities of West Coast art have found their way into his practice, from «cool» abstraction and the brand - newness of Pop to «hot» (abject) figuration and the used - upness of assemblage.

Even after Richter's turn to figuration since the early 2000s, he has maintained his characteristic use of brash colors and dynamic, theatrical compositions, now applied to a «new kind of history painting,» in the thematic and formal tradition of Max Beckmann and George Grosz.

Combining classical influences with Neo-Expressionist features and processing themes such as sexuality, obsession, suffering, death and belief, Schnabel plays with both abstraction and figuration with the use of found materials, fragments of language, paint, and digital reproduction.

ARC: In the sense of working within the threshold between abstraction and figuration, and using the landscape as a pretext to that end?

Autumn Trees, The Maple, which shuttles between figuration and abstraction, is indebted to both Mondrian's trees as networks and to photographers» use of shallow depth of field.»

Using the urban environs as the subject to illustrate a state of mind, the artwork oscillates between figuration and abstraction.

Featuring work from artists Judith Linhares, Loren Munk, and Rebecca Litt, the show focuses on the artists» use of paint, figuration, and representation.

Gilliam's red, blue, and green watercolor, Parade VII, employs color through staining; Thompson's humorous oil painting, The Golden Ass, features a more traditional application; McArthur Binion uses crayon and collage elements in his 2016 brown abstraction, DNA: Sepia II; Nathaniel Mary Quinn's Mean Ol' Teacher uses color as a way to bridge abstraction and figuration in a collaged face made up of many different harlequin features.

Through the work of five artists, the show explores the tension between figuration and abstraction, delicately balanced through the use of different mediums and often humorous expression of personal sensibilities.

Using emphatic but controlled paint strokes, dabs, drips, and smears, these images simultaneously recede and approach in terms of abstraction and figuration, which cleverly simulates the equivalent qualities of memory as a sensory experience.

The multimedia work of Brazilian artist Valdirlei Dias Nunes navigates the space between geometric abstraction and figuration, using found and created objects, forms, lines and shapes to create a dialogue between all parts of his compositions.

«I struggled somewhat with this new figuration in my painting, and Krazy Kat gave me something I found affecting and could use as a formal reference.

Aboudia's unrestrained use of violent figuration is a welcome reminder of the power of paint to suggest the vitality and chaos of life.

Using painting as his dominant medium, figuration, abstraction and hallucination come to characterise his connection to Mbare, and its ceaseless bustle of society amidst urban decay.

27) strikes a careful balance between abstraction and figuration, using the realistically - painted character as a compositional element in equilibrium with his design elements.

Kabisch's aesthetically ironic figuration of humans takes the physical body as an allegory of our society; using the self to explore mankind's manners and paradoxes.

Combining figuration with writing she uses the plain as a process of automatic drawing where many things occur on.

Hovering between figuration and abstraction, his paintings are marked by their heavily impastoed surface, their simplicity of composition, and a bold but sophisticated use of color.

Known for his innovative blending of figuration and abstraction, deft use of color, «hybrid juxtaposition of high and low,» and inspired interpretations of folkloric myths and Roman poetry, the survey features six bodies of work including layered paintings from the 1990s, Afromuse watercolor portraits, and new works created since Ofili began living and working in Trinidad.

Recognized for his use of vibrant color, the museum describes his painting style as «gestural figuration.»

We visited the artist in his studio, where he revealed his working practice, from his battle between abstraction and figuration, to why he prefers to use acrylic paints.

The transparency of sources allows Fraleigh to inform her paintings with new narratives, even if her occasional use of «real» models within the idealized figuration tends to disrupt the composition and confuse the intent.

Consciously locating her work in the tradition of nineteenth - century painters of society and celebrity such as Manet, Peyton uses a loose, sensuous figuration to portray the young, the famous and the glamorous of our times.

I have always liked his barbershop paintings, and the way he uses the paraphernalia of bottles and products, the mirrors and posters and illustrations of haircuts on the walls as a kind of abstraction — they make you think of abstract expressionist Hans Hofman's push - and - pull rectangles of dancing colour, and also at times of Dutch painter René Daniëls» plays between figuration and abstraction.

Her use of color is pretty, but the work raises questions it can't adequately answer; there's neither a clear formal nor emotional reason for the mix between abstraction and figuration, except that it looks nice.