Sentences with phrase «world of action painting»

Smit is one of the last true inhabitants in the world of action painting, a place where the process of creating a work receives much more emphasis than the finished product.

Hendrik Smit November 5 — December 24, 2009 Smit is one of the last true inhabitants in the world of action painting, a place where the process of creating a work receives much more emphasis than the finished product.

Not exact matches

According to this story, the great discoveries since the time of Copernicus and Galileo have disclosed a world that looks ever less like the picture religion painted of it, and have forced religious believers to fight a centuries «long rearguard action against the truth.

Instead Red Sparrow is altogether more grim, painting an amoral world of casual violence and abuse where actions have no consequences, criminals aren't held to account, human life is expendable and everyone would sell out everyone else given half the chance.

Billed as «the world's first oil painted feature film», which is slightly harder to quantify than the film's PR people might hope, Loving Vincent consists 65,000 frames painted by a team of 125 classically - trained painters on glass, with about two - thirds of those have been copied over live - action reference footage.

The first «fully painted» feature film took a live - action drama of the days following Vincent van Gogh's untimely death in a small French village and, with the work of more than 125 artists from around the world, converted every frame into an oil painting in the Modernist's style.

As a spin - off of the popular action series, Monster Hunter Stories expands the world with a shiny, new, undeniably cute coat of paint.

But they are more: they paint colorful pictures from the action, people, and settings of a story world.

Traveled to Westmoreland Museum of American Art, Greensburg, Pennsylvania (June 14 — September 6, 2009); Dayton Art Institute, Dayton, Ohio (October 10, 2009 — January 2, 2010); Telfair Museum of Art, Savannah, Georgia (November 13, 2010 — February 5, 2011); Cheekwood Botanical Garden and Museum of Art, Nashville, Tennessee (March 19 — June 19, 2011); and Reynolda House Museum of American Art, Winston - Salem, North Carolina (October 7, 2011 — January 1, 2012) De Kooning, Mitchell, Richter: Paintings from the 1980s, Tina Kim Gallery, New York (October 17 — November 15) De Miro à Warhol: La Collection Berardo à Paris, Musée du Luxembourg, Paris, France (October 16, 2008 — February 22, 2009) Synesthesia: Art and the Mind, McMaster Museum of Art, Ontario, Canada (September 18 — December 20) Abstract Expressionism: A World Elsewhere, Haunch of Venison, New York (September 12 — November 21) Action / Abstraction: Abstract Expressionism and Postwar America, The Jewish Museum, New York (May 2 — September 21).

While New York and the world were yet unfamiliar with the New York avant - garde by the late 1940s, most of the artists who have become household names today had their well - established patron critics: Clement Greenberg advocated Jackson Pollock and the color field painters like Clyfford Still, Mark Rothko, Barnett Newman, Adolph Gottlieb and Hans Hofmann; Harold Rosenberg seemed to prefer the action painters such as Willem de Kooning and Franz Kline, as well as the seminal paintings of Arshile Gorky; Thomas B. Hess, the managing editor of ARTnews, championed Willem de Kooning.

In all his works here we see the back and forth between what the eye gleans from this world of light, shadow, color, form, people, trees, skies, water and all the elements of objective reality, and what the artist asserts of his feelings, as revealed by gestures, color and movements of paint through actions that depict the artist's inner world.

Rosenberg's idea of painting as «action», of «becoming» through «doing», is returned to us by Johns as an activity of undoings — undoing the myriad signs given us by the modern world or the history of art.

Entirely gestural and action - oriented, the surfaces of his paintings no longer referred to the external world, but instead transformed into an expressive, independent, and autonomous reality, a continual presence of vibrating colors and shapes.

Abstract Expressionism, also known as Action Painting or Color Field Painting, exploded onto the art scene after World War II with its characteristic messiness and extremely energetic applications of paint.

Consciously employing commonly used artistic techniques, such as trompe l'oeil, action painting, graphic design, screen printing, and rudimentary drawing, Josh Reames» paintings break down hierarchies of mark - making, art historical references, computer graphics, labels, and everyday objects in a manner drawn from the non-objective «infinite scroll» of images and information we encounter in both the online and real world.

Rejecting both naturalism and pure abstraction at the end of the Second World War, Cobra valued unbridled experimentation and creative freedom, manifested in brilliant, colorful paintings of distorted figures that provided a more symbolic and political European counterpoint to the roughly contemporary «action painting» of the Abstract Expressionists in the U.S..

[33] In this work, Schneemann addresses the male - dominated art world of Abstract Expressionism and action painting, specifically work done by artists Jackson Pollock and Willem de Kooning.

Far from a rosy reimagining of America's pastimes, however, the show explores how Rockwell used these four 1943 paintings — which also include Freedom of Speech, Freedom of Worship, and Freedom from Fear — provided a call to action in response to President Roosevelt's public entreaty to defend liberty and equality across the globe in the face of World War.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

Pollock's first action paintings appeared around 1947, shortly after the conclusion of World War II.

GALLERY B Between Two Worlds by Rob Goebel Through the abstract of our reality, we find another world where we can see beyond our feelings... Rob has introduced a new realm of abstract expressionism and action painting into his work.

It considers the strategies of representation Fautrier and Shiraga developed in response to the Second World War as well as the efforts of Tanaka and Klein to go beyond their vocabulary of Action Painting and diaristic expression through experiments in performance, installation, and the use of alternative materials.

His dynamic brushwork refers to the development of the postwar avant - garde — particularly action painting, such as the work of Franz Kline — and the rise of such Neo-Dada artists as Robert Rauschenberg and Jasper Johns, who dominated the art world in the decades following World Waworld in the decades following World WaWorld War II.

In particular, Pollock's 60 + year - old, gestural abstract paintings (a.k.a. splatter paintings, action paintings, or drip paintings) remain some of the world's most controversial artworks, simultaneously despised and beloved.

Columns and reviews Associate editor Pablo Larios writes a fan letter in praise of the late Guy Davenport; Olivia Laing discussed the enduring relevance of Philip Guston's «Klan» paintings amidst recent racial tensions in the US; Krzysztof Kościuczuk observes how «necropolo,» a new genre of macabre, deadpan music in Poland, reflects current political anxieties; Ben Eastham witnesses a revival of state - of - the - nation novels in his review of Virginie Despentes's book trilogy, «Vernon Subutex»; Andrew Mellor surveys the London Sinfonietta, past and present, as it celebrates its 50th anniversary; and Elvia Wilk asks whether live - action role play can help us overcome social obstacles in the art world.

For twenty years Trenton Doyle Hancock has gained international renown for his paintings, which fuse cartoon - style drawing and abstract expressionism, creating a fantastical world populated by strange creatures known as the Mounds, their nemeses the Vegans, and Hancock's alter ego, Torpedo Boy, who reflects his lifelong love of comic books and plastic action figures.

Rejecting both naturalism and pure abstraction at the end of the Second World War, Cobra valued unbridled experimentation and creative freedom, manifested in brilliant, colorful expressionist paintings of distorted figures that provided a more emotional and ideological European counterpoint to the roughly contemporary «action painting» of the Abstract Expressionists in the United States.

Abstract Expressionists These visual artists, divided loosely between exponents of «action - painting» and «colour field», sought to escape the outside world and focus on their relationship with the viewer.

Since his death, Pollock's reputation - founded on his position as the most representative of the Action painters and the symbol of the triumph of American painting after the Second World War - has never ceased to grow.

Bernède's paintings are easily accessible for they evoke the collective sense of an archetypal visual language, and aid a civilisation's understanding of the world through heightened self - consciousness and awareness, a concept adopted by the Action painters from Freud and Jung.

* Action / Abstraction: Pollock, de Kooning, and American Art, 1940 - 1976, The Jewish Museum, New York The 1930s: The Making of «The New Man», National Gallery of Canada, Ottawa * Art is for the Spirit: Works from the UBS Art Collection, Mori Art Museum, Tokyo Monet Kandinsky Rothko: und die folgen, Kunstforum, Wein, Austria * Krazy: The Delirious World of Anime + Comics + Video Games + Art, Vancouver Art Gallery, British Columbia, Canada Moving Horizons: The UBS Art Collection: 1960 to the present day, National Museum of China 2008 - 2009 * Oranges and Sardines: Conversations on Abstract Painting, Hammer Museum, Los Angeles 2009 * After Many Springs: Regionalism, Modernism & the Midwest, Des Moines Art Center, IA Paint Made Flesh, Frist Center for the Visual Arts, Nashville, Tennessee: traveled to The Phillips Collection, Washington D.C.; Memorial Art Gallery, University of Rochester, NY * Die Gegenwart der Linie, Die Pinakothek der Moderne, Munich, Germany * Exhibition of Musee National d'Art Moderne du Pompidou, Seoul Museum of Art, Korea * The Third Mind: American Artists Contemplate Asia, 1860 to 1989, Solomon R. Guggenheim Museum, New York Artists and the Natural World, McKee Gallery * Compass in Hand: Selections from the Judith Rothschild Foundation Contemporary Drawings Collection, The Museum of Modern Art, New York Poor.

«The GAO report paints a picture of electronic waste anarchy in the U.S., with little regulation, no enforcement, and unscrupulous recyclers setting the stage for the U.S. to dump its e-waste on the rest of the world,» said Jim Puckett, Coordinator of the Basel Action Network, a toxic trade watchdog group that first exposed the problems with e-waste export to China in 2002.

Now, a new report by Planned Parenthood Action Fund of New Jersey, Access At Risk: Reproductive Health and Family Planning in New Jersey, paints an alarming picture of the real - world consequences for New Jersey residents when politicians block access to and defund basic family planning services, including cancer screenings and testing and treatment for sexually transmitted infections (STIs).