Sentences with phrase «work values abstraction»

Prina's work values abstraction and architectural motifs presented in new contexts.

Not exact matches

Martha Clippinger's works included in New Geometries are not paintings at all, but hand - woven textiles that evoke aspects of painting (rectilinearity, a relationship to the wall), while also proposing abstraction's use value.

Although many different styles are encompassed by the term, there are certain underlying principles that define modernist art: A rejection of history and conservative values (such as realistic depiction of subjects); innovation and experimentation with form (the shapes, colours and lines that make up the work) with a tendency to abstraction; and an emphasis on materials, techniques and processes.

It was much easier to celebrate the abstraction in music than it was with the other arts, but also to diminish the value of anything outside the work itself.

When Malevich repeated the work in the 1920s geometric abstraction had taken hold; the aesthetic value of the later versions may be barely distinguishable, but their art historical and potentially therefore their market values are wholly different.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.

Mary Heilmann Artist Brush Value: $ 500 Starting Bid: $ 250 Mary Heilmann (1940 --RRB- is one of the preeminent artists of her generation - a pioneering painter whose work injects abstraction with elements from popular culture and craft traditions.

Often making abstractions from popular culture to explore the way in which meaning is mediated in an image driven world, his prints and sculptural work engage with the dialectic of desire and value.

«His work investigates what the notions of signature and value, and the very meanings of such traditions as landscape, abstraction, and figuration.

Delaney's work has consistently had a presence in gallery and museum group exhibitions; in recent years these have included: Blues for Smoke at the Museum of Contemporary Art, Los Angeles, CA, which traveled to the Whitney Museum of American Art, New York, NY, and Wexner Center for the Arts, Ohio State University, Columbus, OH (2012); Face Value: Portraiture in the Age of Abstraction at the National Portraiture Gallery, Smithsonian Institution, Washington, DC (2014); Glenn Ligon: Encounters and Collisions at the Nottingham Contemporary, Nottingham, England; In Profile: Portraits from the Permanent Collection at The Studio Museum in Harlem, New York, NY (2015); Night Visions: Nocturnes in American Art, 1860 - 1960 at the Bowdoin College Museum of Art, Brunswick, ME (2015); and I Got Rhythm: Art and Jazz since 1920, Stiftung Kunstmuseum Stuttgart, Stuttgart, Germany (2015).

Abstraction becomes both the artist's signature and a means to elevate the altered image to an object of its own and of independent value, or better, to a work of art.

No one understands your lazy abstractions and no one cares to because they realize they will not be rewarded with any deeper insight than, yes, variations exist and mean value models work surprisingly well.