Sentences with phrase «what about abstract painting»

But what about abstract painting?

Not exact matches

We were trying to explain to some people what a so - called abstract painting was about, and what Abstract Expressionism was all about.

I think the skeptics, at least over the past five years or so, were proven right with regard to the artists who are making abstract paintings that are perfect for the way they are consumed: They make a lot of them, there's a green one and a blue one and a pink one, and you can collect them all like toys in a Cracker Jack box, which is what they're all about.

Since he already knew about abstract expressionist painting (Willem de Kooning had had his first show) he began painting in that tradition, informed with what Hofmann had taught about forming.

Talking about his latest works McDermott said, «In the Sonnet Paintings, I have tried to depict the abstract with clarity... The paintings possess a photographic quality but what they depict is not ever obviouPaintings, I have tried to depict the abstract with clarity... The paintings possess a photographic quality but what they depict is not ever obvioupaintings possess a photographic quality but what they depict is not ever obvious.»

«When I paint an abstract picture,» Gerhard Richter has said, «I neither know in advance what it is meant to look like, nor, during the painting process, what I am aiming at and what to do about getting there.

Asserting that abstraction «is always about something... what it is about is beyond confines of language,» Sarah Braman creates abstract geometric sculptures and paintings on pieced - together plywood panels, in which she simultaneously foregrounds the formal qualities of her materials while referencing home, family life, and nature.

I have been so worried about the fact that I paint abstract art and everyone always wants to know what it is I painted, but I can't tell them because it's really intuitive!

Now, as the latest in our series of interviews around Phaidon's new Vitamin P3 compendium of contemporary painting, Artspace's Loney Abrams spoke with the ambitious curator — and P3 nominator — about the political and economic dimensions of abstract painting, the pre-digital canvases of Thomas Bayrle, and what he's discovering about the medium's direction while assembling the 2018 Triennial with fellow curator Gary Carrion - Murayari.

Katy Moran's solo debut at Andrea Rosen Gallery proved as «riveting» as the press release trumpeted, despite the fact that nobody could quite agree on what her abstract paintings are about, where they come from, or what they finally depict.

I think abstract paintings are always confrontational in the sense that people have to make sense of them, so while you can see it on just a formal level and appreciate the colors and the shapes and so forth, at the same time you have to think about what they may signify, which always makes the audience ill at ease.

Speaking of the figurative aspect of works that largely appear abstract, Kim has said, «I love a good abstract painting, but I'm often not interested in what people talk about when they talk about abstraction, so I prefer to apply my own content.»

Their fractured, planar, abstract approach to depicting 3 - dimensional subject matter on a 2 - dimensional canvas ushered in new ideas about representation and vision, irrevocably altering what painting could be.

What is most surprising about Sean Scully's abstract images composed of stripes and squares of colour is not their considerable emotional power, but the fact that the most delicate watercolours or tiniest etchings can evoke a mood just as well as the large - scale oil paintings.

Well, it's interesting, because that's a very... almost a very good description of what the abstract expressionists would say about, you know, like they lived their paintings and the way....

Apfelbaum moved painting to the floor in what she calls «fallen paintings,» abstract works made of synthetic velvet and dyes, packed with metaphors about class and gender.

In a 2010 publication about the painting written by Robert Storr, the author asks: «what is the meaning of a single, small, almost abstract depiction of one of the most consequential occurrences in recent world history?

Perhaps this is what abstract artists are aiming for when they go on about their paintings being about painting.

When abstract artists chuck paint about with abandon, what does it mean?

What can contemporary abstract painting tell us about the medium today, and why does it continue to stir the soul?

It encourages us to entertain several questions about abstract painting today: What are contemporary abstractionists holding onto?

A: What is it about combining the mediums of painting and digital photography that excites you, and why do you think they work so well together when forming abstract images and concepts?

You can not accept what people have said about Motherwell, Abstract Expressionism, and abstract painting until you discover this work for yourself.

In his 1986 book, «Working Space,» Stella speculated about what it would take to guarantee abstract painting a viable future, given that its ancestry is so thin and recent.

Being inspired by Art Brut and Folk Art I decided to paint what are rather abstract forms in a naïve way, using about 24 colours and a uniform brush size.»

All that stuff about abstract painting... like the Malevich paintings are outer space paintings, like this weird idea that the place to be is in outer space with nothing else around, and that's what's really great and abstract.

I am writing this statement not quite knowing what the immediate outcome will be, but am aware of the potential collective impact that this distinctive community of creators will have with Brian Belott's innovations in collage, Ákos Birkás's philosophy about painting a certain situation, Regina Bogat's devotion to art making with clever variations on certain abstract themes, Matt Bollinger's extra-large and bracing graphite drawings, Paul DeMuro's painterly electricity, Marc Desgrandchamp's time - fragmented paintings, Michael Dotson's paintings of the «Disney - esque,» Michel Huelin's relationship with nature and software, Irena Jurek's very meaningful cat character, Alix Le Méléder's proposals of four colors determined by the passage of the brush, David Lefebvre's painted images cut out of magazines or downloaded from a mobile phone, Pushpamala N.'s ethnographic documentations which have been compared to Cindy Sherman, Wang Keping's unique wooden sculptures that juxtapose vivid emotion with a marked sense of introversion, Katharina Ziemke's pictorial treatment of current events, and me, the co-host with a small drawing.

His recent paintings too - weird pixilated abstracted canvases - are very typical of what painting is doing these days in that it is not so much about anything other than the language - it does not even matter how it is arranged, it is almost symbolic.

John, I don't think the problems with painting are to do with greater competition — in fact I'm not sure there are that many good abstract painters around anyway — but to a lack of clarity about what making a properly abstract painting really means; whereas that seems to me to have not only clarified somewhat in abstract sculpture, but also, paradoxically, broadened out.

However, I think she is prevented from acknowledging the complexity of this aspect of abstract painting because of her insistence on limiting it to being what institutional critique insists it must be, a dead medium for which new uses must be found and they will be about writing and reading not about painting and seeing.

What is important about abstract painting is an idea.

What I'm much less sure about, as I have written elsewhere, is whether in abstract painting there is enough real spatial content in the first instance to set up any kind of meaningful tension to such a resolution.

One reason for our consideration is that, by some standard, she did everything wrong: she made easel pictures on prefabricated canvas board; she made impure abstract paintings; she seems not to have given a fig about what the Abstract Expressionists were up to.

And they act like it's all about cubism turning into abstract painting and that's what's important.

What is it about the expressive power of abstract art — especially abstract painting, whose ambiguity of meaning is one of its most definitive characteristics — that remains so alluring?

Abstract art emerged about one hundred years ago, specifically in painting, and through a shift away from representation.1 Yet what is encompassed by the term abstract has long been questioned and never tightly defined.

What you say about the Heron seems such a marginal and slender kind of content to build abstract painting around, these nuances of colour relations, especially if only a «few» can make anything of them.

And I like Andy's review here, and his honesty about what he sees and feels about the work; but I think his answer at the end of the essay about there not needing to be a difference between design and abstract painting is not right for me.

If abstract painting, to quote Matthew Collings on Mali Morris, is about «constantly coming up with visual metaphors for experience», and the artist's job is to produce this metaphor - world «in the form of visual pleasure, or beauty», that's a great metaphor for what Mali Morris does.

But still, what is it about abstract painting reduced to a (almost) single color, small in size, with exposed canvas and a relatively thin surface?