Painting and sculpture

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Eva Hesse at Tate Modern, not painting, not sculpture

Eva Hesse at Tate Modern, not painting, not sculpture

the Whitechapel Art Gallery in the spring of 1979. It was not surprising at the time though: I was a painter and sculpture did not interest me. In her influential biographical study of the work of Hesse published in 1976, Lucy Lippard closes the chapter covering the artist’s completed “apprenticeship” at the end of a year working in Kettwig-am- Ruhr in Germany with the statement that Hesse returned to New York in 1965 full of new confidence and with “an image of herself as a sculptor” (Lippard 1976: 47). The line thus drawn in Lippard’s narrative of Hesse’s development, between her immature activity in painting and her coming of age as an artist in sculpture, has characterized curatorial decision making, and most of the critical writing about the artist’s practice ever since. In the galleries of the exhibition at Tate Modern, however, in what counts as my first encounter with the work of Eva Hesse twenty-three years on from Eva Hesse: Sculpture at the Whitechapel Gallery, that division looked decidedly less distinct.
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Exploration of the correlation between non-objective painting and sculpture in the round

Exploration of the correlation between non-objective painting and sculpture in the round

ROCHESTER INSTITUTE OF TECHNOLOGY A Thesis Submitted to the The College In of Imaging Arts Faculty of and Sciences Candidacy for the Degree of Master of Fine Arts EXPLORATION OF THE CORR[r]

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Patriotism and new-classicism: the 'historical revival' in French and English painting and sculpture, 1746-1800

Patriotism and new-classicism: the 'historical revival' in French and English painting and sculpture, 1746-1800

Finally, the role of key art critics and theorists reveals that while the French sought to revive an earlier era of national and artistic grandeur, their English counterparts, riding the[r]

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Innovative Algorithms and Evaluation Methods for Biological Motif Finding

Innovative Algorithms and Evaluation Methods for Biological Motif Finding

Non-traditional painter Angela de la Cruz dramatically blurs the line between painting and sculpture (Figure 6), by virtually destroying her boldly colored canvases and frames and allowing the remaining materials to be displayed as pure form. De la Cruz is an influence in her skill of delivering a concise concept in the most direct fashion possible. These forms act as evidence for the break that has happened from one fine arts classification into the other, leaving painting and entering sculpture. De la Cruzʼs work transcends from painting into the realm of sculpture by introducing flat, glossy color fields, and transforming canvases into three-dimensions as battered victims crumpled into forms. The absence of an image helps bring the forms into sculpture. The mangled canvas is transformed into an elegant form because of her careful consideration for formal elements of composition in a sculptural sense, and this realization has shown me that a sculpture should do more than sit atop a
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Modernising Furniture: Four Melbourne Designers 1946 60

Modernising Furniture: Four Melbourne Designers 1946 60

Curated by Kirsty Grant, the Senior Curator of Australian Painting, Sculpture and Decorative Arts to 1980 at the National Gallery of Victoria, “Mid-Century Modern: Australian Furniture D[r]

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Sculpture and Space

Sculpture and Space

Other cases do seem to efface Langer's effect more completely. Here we might think of any one of Ghilberti's panels for the doors of the Florence baptistery. But they do so, not merely through the interrelations of sculpted figures, but through setting them in a clearly defined sculpted space, a classical receding plane. And in doing so, they precisely lie nearer the boundary with art properly thought of as pictorial. For the effect of the sculpted surrounding space is precisely to create a sense of a different space from that of the gallery, in the sense traced above (¤IV). Perhaps it seems question-begging to dismiss these examples as only marginally sculptural. But there are other considerations motivating this, such as their combining full-blown sculptural representation with low-relief and even at times engraving. In these respects too, they seem to occupy a region between sculpture and painting, and that is how, in general, tradition has received them. If this marginal status is essential to their frustrating our attempts to experience them in the way Langer has described, they seem as readily to provide a confirmation of her view as a threat to it. 9
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Striking visual contrasts

Striking visual contrasts

rectangular format easy base to perceive the I intended to use chance as a preconceived idea painting in my changes formal device to form pictorial experimented with strokes, sculpture l[r]

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Endoios’s Painting from the Themistoklean Wall: A Reconstruction

Endoios’s Painting from the Themistoklean Wall: A Reconstruction

would be unusual in a reference to a painting rather than a carved relief sculpture.75 I would like to suggest that the implied antecedent here was ocvc3po'oC, a term already in use[r]

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The Artist Image: How Do Children Depict Artists?

The Artist Image: How Do Children Depict Artists?

The artists drawn by the students are grouped under four themes as audial, plastic, literary and performing arts. It was seen that majority of the students depict artists in the context of plastic arts as persons painting and audial arts as persons singing songs. Not appearing of other art branches can be related with inclusion of popular arts in daily life. How many people have sculptures or do not have any pictures in their homes? Pictures/paintings can exist in homes but sculptures can be rarer. Considering that art education courses mostly take place through painting than sculpture or other arts, it can be understandable that students link with painting more often than other arts. As for the students’ statements concerning what the artists are doing in their drawings, some quotations are given below:
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Abstraction’s ecologies : post industrialization, waste and the commodity form in Prunella Clough’s paintings of the 1980s and 1990s

Abstraction’s ecologies : post industrialization, waste and the commodity form in Prunella Clough’s paintings of the 1980s and 1990s

photographed by Clough. The umbilical loop of cord or rubber hosing protruding into the top of the painting, partially obscured by a rectangular scrim, has affinities with a drawing Clough made in her 1987 notebook, glossed as a “sk rope” (presumably “skipping rope”) (fig. 9). 59 The colours echo those Clough deployed in contemporaneous works like Sweetpack, also included in the show, redolent of glistering confectionary wrappings. While visually alluring, this palette’s evocation of oil on water alludes to the petrochemicals used to make plastic, so that like Toypack: Sword it evokes chains of commodity production.
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The Setting of Greek Sculpture

The Setting of Greek Sculpture

A possible exception may be the group of Athena and Marsyas as reconstructed at present (G. The monument was the work of Onatas of Aegina and is therefore secur[r]

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Ceramic sculpture for the wall

Ceramic sculpture for the wall

been vigorously done in the more stronger The Yellow is as glaze glaze title the and white slips were piece was fired in oxidation In the a little red before a ochre slips were stoneware[r]

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Ceramic sculpture in the home

Ceramic sculpture in the home

CERAMIC SCULPTURE OF THE PAST 1-31 Introduction Origins in cult figures Mesopotamia Egyptian cult figures China of the T'ang period Japanese Haniwa figures Minoan votive Assyrian sculptu[r]

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Sculpture with reflective surfaces

Sculpture with reflective surfaces

2 Earthenware Clays 2 Cone One Glazes 6 Raku Clay 14 Raku Glazes 15 SCULPTURE WITH MIRRORS 19 MIRROR 21 FRAMES REFLECTED IMAGES 26 RAKU WITH GLASS 28 SCULPTURE WITH REFLECTIVE SURFACES 2[r]

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Sentinel: Monumental sculpture

Sentinel: Monumental sculpture

complete when this foundation had two female of the ceramic blocks before I could cast the glass block and would I to block it with and would not made an error on order threaded rod, whi[r]

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Report : Sculpture Workshop

Report : Sculpture Workshop

As a summary of this semester, I would like to point out that each piece broke new technical ground for me, as well as attempting new approaches to the work process and intention... I fo[r]

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Report : Sculpture Workshop

Report : Sculpture Workshop

The image cannot be executed on conception, as careful consideration must be given to the materials, methods and forma to be employed in the work, therefore the most appropiate way must [r]

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Final report on Sculpture

Final report on Sculpture

with large scale in the previous work, I again decided taller-than-human.. The next piece was decided.[r]

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Postgraduate report sculpture

Postgraduate report sculpture

Wendy Teakel and I will have an exhibition of our work at the Arts Council Gallery, Oorman House, Canberra in June 1986.. The three remaining works ,"Fallen Container", "Riverscape" and [r]

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Sunnybrook   Sculpture and text

Sunnybrook Sculpture and text

Sculpture and text by Persimmon Blackbridge Photos by Susan Stewad I got the interview at Sunnybrook because I put on my application that I had worked at a child guidance clinic in Ontario Actually, l[.]

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