Sentences with phrase «within painting practice»

With you being surrounded by death, you still chose to further immerse yourself in it within your painting practice.

Each room will focus on a genre within his painting practice: plants, sports cards, and portraits.

A pluralism within painting practice itself was also evident.

Not exact matches

Much of the hysteria about this measure from Conservative MPs and within the right wing press has painted a misleading picture regarding both how capital gains tax works in practice and who pays it.

Corwin writes: «In the tradition of Klein and Dubuffet, Strobert chooses to site her artistic practice within the confines of painting, while literally doing everything she can to reconfigure that discipline through a re-orientation of mediums and with an expressionistic yet pragmatic eye... Strobert's painting isn't abstract painting but the abstraction of painting.

Now we've looked at a fair few paintings from within our tutor base to prove they actually practice what they preach.

painttube is a research group of staff and post graduate students at the National College of Art and Design, in Dublin, who are engaged and interested in painting within contemporary fine art practice.

The conversation will focus on their individual artistic practices, the personal and cultural context that led them to their art, how they each express themselves through paint, and how they identify their place within the lineage of Latino painters.

Whereas Martin operated largely within the confines of painting and drawing, Tuttle's practice eludes formal categorization and is grounded in handmade constructions of ordinary materials, such as wire, tape, thread, and cardboard that are raised to the pinnacle of beauty.

Hantaï achieved this while remaining within the practice of painting.

Like ballroom dancing, painting continues alongside more contemporary practices, and within the (in) discipline of painting representation and abstraction co-exist.

Serving as an overdue affirmation of Hoyland's significance within the field of abstraction, they provide fascinating new insights into the artist's practice, and through it, the object of painting itself.

Situating itself within current art historical and political debates, the exhibition considers work by self - taught, spiritually inspired and incarcerated artists, alongside other projects based in performance, socially engaged practice and the archive, as well as painting, drawing, sculpture and assemblage, that make insistent reference to place.

The category of painting is examined more generally in the wood panels on top of the pedestals: straddling the line between abstraction and representation, they offer painting as both an object within sculpture as well as a discrete project central to the artistʼs studio practice.

Known for her monumental, rhinestone - encrusted paintings of domestic interiors and female subjects, Thomas identifies photography as playing a central role within her practice.

James Prosek's practice is inspired by the long tradition in art history of depicting nature — starting with paintings of animals deep within the caves of Lascaux and Altamira to detailed drawings of animals by Albrecht Dürer.

Similar to the practice of formal sculpture, Otero makes work that have a presence within the long - standing dialogue extracted regarding contemporary painting, while communicating with the past.

This discussion will probe the allegorical as a function within painting and photography, and specifically in relation to the mythological and psychological resonances within Charlesworth's own practice.

Both artists are no stranger to iconoclasm and have a strong predilection for the application of scientific techniques within their artistic practice, be it the use of X-rays on paintings or diamond turning on an antique bronze mirror.

Immediate and fresh, they challenge the assumptions of painting as they exist within Hughes» oeuvre while also extending her painterly practice in surprising ways.

Carroll Dunham, an important New York — based artist working in painting, drawing, and printmaking, discusses his practice, from coming into his own in the late 1970s to his current contributions as a maker and a writer within the continuum of art.

Exhibiting internationally since the early 1990s, Suzanne McClelland's practice includes both large - scale paintings and works on paper, often extracting fragments of speech or text from various political and cultural sources and exploring the symbolic and material possibilities that reside within language.

Gaines's practice places him within the legacy of conceptualism, evidenced by works such as his gridded, serial images of trees painted on Plexiglas.

Nagai employs various media such as a sculpture and installation as well as a painting within her practice.

Although his main studio practice is painting, Kum's incorporation of time based media and text within his practice reflects on multi-dimensional scapes where notions of analog and digital are merged and new realities are presented.

His methods contain notable convergences with abstract painting, and increasingly abstract elements are evident within the tree paintings that have been a consistent focus of his practice in recent years.

Fever Within featured more than fifty of Lockett's paintings, sculptures, and assemblages — including works from the High's collection — that embody the stunning evolution of his artistic practice.

Additionally, Hopper's paintings became a close - to - home national symbol of urban alienation within art making practices, one of the first references that come to mind whenever a discussion concerning artistic depictions of loneliness occurs.

Her practice includes both large - scale paintings and works on paper, often extracting fragments of speech or text from various political and cultural sources and exploring the symbolic and material possibilities that reside within language.

Pippin, who took up painting after losing the use of his right arm (he was shot in the shoulder during active service in the First World War) trod a line between modernist and folk art traditions: «The painting will serve as a bridge within the broader American collection to reveal complex and often - overlooked relationships between styles and practices», M. Melissa Wolfe, the museum's curator of American art, explained.

This winter Brooklyn painter and writer Stephen Maine sat down with artist Linda Francis to discuss her involvement in the fields of new music and performance within the greater context of her painting practice.

While one of the most important artists of the postwar period and a pioneering figure within the field of abstract painting, Ryman's drawings, and their profound significance within his practice, have never been examined before in a focused exhibition.

Maintaining gestural painting's relevance in contemporary culture while also rooting its chief sources of inspiration from within the Western canon is a Herculean task, particularly as the very practice of painting as a discipline continues to erode within the art market, art schools, and public art institutions like museums.

Regarded as one of the finest periods within a practice spanning over five decades, the late 1980s and early 1990s saw the production of significant works including the celebrated Eis cycle of paintings (The Art Institute of Chicago), as well as important examples of his Abstraktes Bilder series, now housed in important collections including Abstrkates Bild 726 (Tate, London), Abstrkates Bild 727 (Kunsthalle Hamburg) and Abstrkates Bild 734 (San Francisco Museum of Modern Art).

Featuring paintings and works on paper from several of the artist's ongoing series, including System of Display, Untitled (A Victim of American Democracy), and Independance, the exhibition will provide a West Coast audience with a powerful survey of the latest evolutions within Pendleton's practice.

Comprising thirty - six works, it spanned more than three decades and focused on the artist's long - standing interrogation of painting via a practice that oscillates between representation and abstraction and locates the medium within an expanded field.

Janet Werner: Sticky Pictures Gabriele Beveridge: Soft Shrinking Tremor 8/9/2017 -7 / 10/2017 Opening: Thursday, September 7, 6 — 9 pm Janet Werner: Sticky Pictures Janet Werner's recent paintings reveal a shift within the artist's practice.

The pre - and post-War architectural landscape was to become an important subject within the artist's photo - painting practice, documented extensively through photographs in his personal compendium «Atlas» and expanded into a lengthy meditation on buildings, infrastructures and townscapes in the Stadtbilder series.

Gaines» practice places him within the legacy of Conceptualism, evidenced by works such as his gridded, serial images of trees painted on Plexiglas.

The diverse practice within our program mirrors both the definition of what painting «is» and what it can be.

Love is also a rare example within the artist's oeuvre, in that she abandons her long - held practice of leaving her works untitled, in favor of adopting an exuberant, uplifting tone when naming her paintings.

Painting and filmmaking are parallel activities within the artist's practice and she sees them as a way of investigating, tracing and playing with «urban, social and bureaucratic typologies».

The exhibition follows Pollock's practice through a selection of these drip paintings made between 1947 and 1950 to his late blind spots, demonstrating a radical juxtaposition between two distinct periods within his work.

The artist's painting and print practices are two parts of a unified whole, informing each other within a codified language of the artist's own creation.

Embracing painting's possibilities, the pursuit of the artists in this exhibition is to continue the ongoing debates over the practice of painting and its location within contemporary art.

TRACEY EMIN EXORCISM OF THE LAST PAINTING I EVER MADE Following the success of Tracey Emin's iconic My Bed, 1998, which achieved a world record price at auction quadrupling its pre-sale estimate to realise # 2,546,500 / $ 4,351,969 / $ 3,178,032 (estimate: # 800,000 - 1,200,000) in July 2014, Exorcism of the Last Painting I Ever Made, 1996 (estimate: # 600,000 — 800,000, illustrated left), documents a seminal moment of breakthrough within the artist's oeuvre, witnessing an impassioned re-engagement with her painting and drawing practice after a six - yearPAINTING I EVER MADE Following the success of Tracey Emin's iconic My Bed, 1998, which achieved a world record price at auction quadrupling its pre-sale estimate to realise # 2,546,500 / $ 4,351,969 / $ 3,178,032 (estimate: # 800,000 - 1,200,000) in July 2014, Exorcism of the Last Painting I Ever Made, 1996 (estimate: # 600,000 — 800,000, illustrated left), documents a seminal moment of breakthrough within the artist's oeuvre, witnessing an impassioned re-engagement with her painting and drawing practice after a six - yearPAINTING I EVER MADE Following the success of Tracey Emin's iconic My Bed, 1998, which achieved a world record price at auction quadrupling its pre-sale estimate to realise # 2,546,500 / $ 4,351,969 / $ 3,178,032 (estimate: # 800,000 - 1,200,000) in July 2014, Exorcism of the Last Painting I Ever Made, 1996 (estimate: # 600,000 — 800,000, illustrated left), documents a seminal moment of breakthrough within the artist's oeuvre, witnessing an impassioned re-engagement with her painting and drawing practice after a six - yearPainting I Ever Made, 1996 (estimate: # 600,000 — 800,000, illustrated left), documents a seminal moment of breakthrough within the artist's oeuvre, witnessing an impassioned re-engagement with her painting and drawing practice after a six - yearPainting I Ever Made, 1996 (estimate: # 600,000 — 800,000, illustrated left), documents a seminal moment of breakthrough within the artist's oeuvre, witnessing an impassioned re-engagement with her painting and drawing practice after a six - yearpainting and drawing practice after a six - yearpainting and drawing practice after a six - year hiatus.

Within his practice Todd explores the spatial construction of paintings and their material properties through combining drawing and painting materials — including acrylic paint, gesso, ink, pencil and varnish — through a multi-layered approach.

Another multipanel painting Yellow Girls I (2017) underscores the centrality of drawing within Wylie's practice.

Toru Kuwakubo started his artistic practice with a theatrical approach, finding the figure of an imaginary painter within himself as a means to explore contemporary art through the medium of painting.

N. Dash's first solo museum exhibition was staged in the Hammer's distinctive Vault Gallery; with its diminutive, bullet - shaped floor plan and arched ceiling, the chamber is one of the museum's more unusual spaces, and the room's obdurate layout underscored the role of architecture within Dash's incisive painting practice.