Sentences with phrase «use figurative art»

«They all wanted me to use figurative art when I was moving into abstraction,» Pindell said at the exhibit opening.

Not exact matches

When I teach language arts, I love using collaborative writing to explain concepts like figurative language or to demonstrate how to start writing different types of pieces (like an essay or a suspenseful personal narrative).

In an attempt to avoid the trappings of abstract and figurative art, the artists made extensive use of collage and assemblage, appropriating images and incorporating real objects into the work.

Though he emerged in the New York art world in the 1950s during the heyday of Abstract Expressionism, Katz has been dedicated to figurative painting throughout his career, anticipating Pop art with his bold use of color and stylized renderings of humans, animals, and landscapes.

It's difficult to think of major female artists since the 1970s who work with figurative sculpture in the way of a Charles Ray or a Paul McCarthy, although I can think of many celebrated female artists who have used the body in installation and performance art.

While stylistic references include turn - of - the - century Nordic figurative painting, folk art, and local or contemporary vernacular, her evocative use of pictorial space and her juxtapositions of thick paint and textured washes is uniquely her own.

Yoshida, who encouraged the use of commercial and popular cultural imagery, led a group of artists who came to be known as the Imagists who distinguished themselves from the art scenes in New York and Europe with high color figurative paintings and drawings.

In the early 1980s Dokoupil emerged as a leading champion of a new generation of international artists who, in opposition to the minimal and conceptual art of the 1970s, rediscovered painting and the use of figurative, expressionist images.

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, Lfigurative 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, LFigurative 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, Lfigurative 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, Lfigurative 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, Lfigurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Kitaj has been associated with the «School of London» generation, a label that never referred to a specific group or style, but was used in connection with a number of painters preoccupied with the figurative aspect of painting at a time when abstract art had dominated the art scene for a long time.

Kitaj had a significant influence on British pop art, with his figurative paintings featuring areas of bright colour, economic use of line and overlapping planes which made them resemble collages, but eschewing most abstraction and modernism.

Asked about the difference between abstract and figurative art, she said: «Many people would like to know how to look at abstract painting because they may be used to looking at figurative painting.

While stylistic references include turn of - the - century Nordic figurative painting, folk art, and local or contemporary vernacular, her evocative use of pictorial space and her juxtapositions of thick paint and textured washes is uniquely her own.

Her figurative paintings use traditional art - historical genres (the still life, the formal portrait, depictions of classical statuary) to explore people and objects that no longer have the fixed representational or symbolic status that allowed those genres to operate.

Using Bacon and Freud as anchors, the show will examine the portrayal of the human experience in art and provide an expansive picture of figurative painting in the 20th century, particularly in Britain.

Using figurative representation and playful geometric abstraction, Brooklyn - based artist Ted Lawson is someone who loves to combine digital technology — such as 3D printing — with traditional art methods to create organic fine art as well as large - scale sculptures that explore humanity.

A self - described «people's painter,» Andrews focused on figurative social commentary depicting the struggles, atrocities, and everyday occurrences in the world, but he was not satisfied to use art as a substitute for action.

Her current work is based around figurative art and using bold colors to extenuate her energy and emotion onto canvas.

Plus One Gallery artist Paul Day has spent over twenty years developing a highly personal approach to figurative sculpture with a particular interest in representing the figure in architectural space using high - relief, an art form that combines drawn composition and fully rounded sculpture.

Although my work doesn't look on the surface much like his, I think he taught me about using iconic signifiers and figures that I could project myself into for emotion and as an avatar in paint (like Scott McCloud describes in his amazing book, Understanding Comics, that we do as comic readers), and create figurative narrative allegories that hopefully resonate deeper than most political cartoons and relate to Goya and other art historical uses of politics and allegory as much as the imagery could relate to underground comics and contemporary worlds.

Zoi Gaitanidou has been using embroidery to create elaborate tapestries that combine abstract patterns with figurative elements resulting in an intensity that recalls tribal art.

In the tempestuous art world of the time, the use of figurative objects was deemed a form of apostasy.

Using found imagery and carefully constructed tableaux, his seductive yet challenging figurative paintings explore complex ideas about history, memory, political extremism and art history and are influenced by his experiences growing up in the last years of Ceausescu's dictatorship.

Daskaloff painted in the 1960s and 1970s in a pop - art influenced abstracted figurative style using bright colours.

Where as a figurative work of art might allow every viewer to engage with it on the same level by referencing some aspect of history or life with which we are all familiar, an abstract artwork requires that every viewer that sees it begins anew, using their thoughts and feelings to arrive at some conclusion about what it could possibly mean.

The artist looks to the use of geometry in Islamic art as opposed to figurative forms seen in other artistic traditions.

Painter, illustrator, graphic designer and graffiti artist, Rems 182's imagery unites violence, eroticism, and strength in both large - scale and smaller portraits characterised by a use of multiple perspectives that create a unique softness in each image that allows the various expressions to complement each other while revealing the complexities of human emotion Having a background as a graffiti writer his work combines both letter - based and complex figurative images, or as the artist himself explains: «I fuse my graffiti writer language with my modern figurative art experience in perennial tension towards abstract disaggregation.»

That the use of such a methodology was passed from the advocates of a figurative manner to a group made up of the most extreme abstract artists is an indication of the importance of geometry in art at that time.

The renowned artist has presented his figurative, narrative art internationally, receiving early critical praise for his dramatic steel sculptures, drawings and installations using video.

There's a lot of figurative work today — I'm actually curating a show right now for the Flag Art Foundation of artists who use dolls, mannequins, toys, robots, all surrogates for the human body.

Now the Stuckists, the group of figurative painters who oppose conceptual art, are to use their first - ever show in a commercial West End gallery to further ridicule the Tate director.

The pop artists, as they were later christened, produced figurative and representational images, and used found objects, to create art that was a visual commentary on consumerism.

Using completely stereotyped genres (figurative painting, travel photography, landscape painting, and so on), Miller has been engaged since the end of the 1970s in a global critique of the function of the auteur and the resulting loss of the work of art's «aura».

Superrealism Emerging out of Pop Art and Photorealism, this is an American - based figurative genre in which certain stereotypical individuals are re-created down to the last true - to - life detail, using polyester / fibreglass and other materials including human hair.

Formal spacial constructs and his clear, bright use of color hark back to the early 20th century as well as to mid-century Pop art, while his approach to collage and breakdown of the figure acknowlege earlier figurative artists such as Romare Bearden.