Sentences with phrase «writing about abstract art»

Some ideas for writing about abstract art... How did you paint it?

Not exact matches

She's a yoga teacher, podcast host, and enjoys almond milk lattes, breaking a sweat, abstract art, and writing about...

In a 1912 essay he wrote about how only abstract art can express the deeper truths behind the material world.

We recently wrote about contemporary abstraction, and the fact that abstract art survived only as part of other movements.

I freely admit that I gently borrowed the title from French professor Serge Guilbaut, whose book How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War, written back in 1983, is still by far one of the most fascinating books about abstract expressionism and its controversial use as propaganda in the Cold War years.

Ceramics Finds Its Place in the Art - World Mainstream Lilly Wei writes... From the first generation of modernists who worked in clay to contemporary practitioners, all have made breakthroughs: in scale, in single objects as well as expansive installations; in technical experimentation; in increasingly original formal resolutions from the abstract to the realistic; and in content, exploring issues about the body, identity, politics, history, feminism, domesticity, means of production, and beauty... more

Kathy Halbreich, director of Walker Art Center, Minneapolis, writes about the range of influences he absorbed: «From his early drawings rooted in a European Surrealist tradition to his monumental abstract canvases, Motherwell's visual language synthesizes a veritable history of modern painting, reflecting ties to Picasso's early collages, Matisse's color - rich paintings, and the development of American Abstract Expressionism in which he played such a pivotal role».

An obituary on Wednesday about the abstract artist Kenneth Noland misstated the surname of an art critic who wrote a monograph on him.

It shows us whether abstract art is making a wide enough social impact to affect influential tastemakers, and what other types of aesthetic experiences are leaving memorable imprints on the minds and hearts of those who write about art as a profession.

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.

My favourite works are all by female artists, who are so often absent from Italian art history: Carla Accardi's fluorescent and candy - coloured Rotolo Arancio and Rotolo Verde (Orange Roll and Green Roll, both 1967), painted on sheets of rolled - up transparent plastic sheeting; Irma Blank's Twelve Chapters (1977), 12 laboriously hand - written books filled with the artist's elegant abstract signs, and Lisetta Carmi's I Travestiti (Transvestites, 1965 — 71), a pioneering and much censored photographic project about the trans community in Genoa.

He wrote enthusiastically about his pursuit to create the world's first purely abstract work of art.

He attended the Scarborough School and by his teens possessed well - formed views about abstract art, writing in a psychology paper, «The greater the work of art, the more abstract and impersonal it is; the more it embodies universal experience, and the fewer specific personality traits it reveals.»

Jeanette Fintz, abstract painter and art writer, wrote about Feinberg's work for The Artful Mind, saying: