That format placed the images in the subordinate illustrational role that he decried.
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Morgan has mastered an illustrational style in this work, which she uses occasionally in this exhibition.
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His paintings, done in a crisply realistic, highly detailed, somewhat cut-and-paste illustrational style, are far from grim.
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These pictures aren't on view here, though there's a small illustrational shot taken by Andrew Brucker of Ms. Sherman and Mr. Cunningham together.
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Viewers were prompted to search for internal conceptual meanings rather than for illustrational clues to behavior in likely schemes of cause and effect.
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The banal flourishes with which she combines aspects of academic/illustrational painting and drawing with whole-cloth outtakes from other artists (Cy Twombly backgrounds, for example) continue unabated.
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Grosz famously reinvented himself when he emigrated from Germany to the US in 2000, leaving his personal artistic history behind and adopting a far more traditional and illustrational style.
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Deeply involved in the Gandhi-led anti-colonialist movement, she repurposed the illustrational naturalism taught in British-founded art schools by filtering it through older indigenous styles like those found in the sixth-century Buddhist murals at Ajanta and in Rajput miniatures.
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He strikes me as a strategist who is trying to stake out his territory in the contemporary artists' land-grab by fabricating studiedly awkward, ungainly objects on a public-address scale — Donald Baechler meets Jeff Koons, but without Baechler's illustrational nostalgia or Koons's kinky gaudiness.
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This sense of artists as visionary magi who are the only ones paying attention to the deeper sensations of life, which apparently include buxom women whose motives and morals are uncertain at best, combined with an illustrational devotion to idealized figures, lends itself to an aesthetic that would be best characterized as Heavy Metal.
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The Newsonomics of the Newly Quantified, Gamified News Reader Nieman Lab 4 December 2014 The illustrational style used at the top of every article has been described as, "jaunty collage and pop-art illustrations".
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The Blagger's Guide is a British series of comical documentaries on specific music genres, originally broadcast on BBC Radio 2. Not all the information presented in the programme are facts. Some items have been exaggerated for comic effect. The series works on a monologue style, with clips of music inserted for illustrational purposes.
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To be clear, Tucker does make this division in either her essay or exhibition. What is offered here is simply a demonstration of the consistency of her selection, even as her description proves misleading or inadequate. The first group (in no particular order) brackets works that highlight illustrational styles derived from print sources, although more remotely than Pop Art. The works by Albertson, Carrillo, Hilton and Staley favour this.
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Francis employed a loose, sketchy style that sometimes resembled the illustrational approach of Ed Emshwiller. Unlike Emshwiller, he did not do covers for Galaxy, only interior illustrations. In the January 1954 issue of Galaxy, the interiors were by Francis, Emshwiller, Don Sibley and Sandy Kossin, and editor H. L. Gold employed this core group to illustrate for Galaxy on a regular basis during the 1950s. Francis also contributed to Gold's Beyond Fantasy Fiction.
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" Her work is "characterized by an elegant balance between mythical and realistic imagery. The tightly woven, reflective waters of her canvases are overlaid with figurative narratives and the result is a body of work that is both beautiful and, at times, haunting."Yee, Jeen(2012)Gallery Curator. Water Born Her style has also been described as a, "combination of representationalism, realism; naturalism, and takes the form of illustrational depictions of happiness using stylized, personal exaggerations and distortions.
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Funk Art in San Francisco, as in the work of William T. Wiley (b. 1937), similarly continued to mine a strong illustrational style devoted to fine, continuous outline and mainly flat colours, even as it adopted less familiar content. In both cases, the work maintains a cool detachment in manner, as painting, even as its content is much less obviously popular or commonplace. Pop Art is also quick to use art historical references, such as Warhol's Mona Lisa or Lichtenstein's Mondrian and Cézanne illustrations, as a way of driving home the point about painting and print's differences.
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Shuffling and reshuffling, then adding another deck and reshuffling that." In his autobiographical book of images, Pepfog Clufff, Clough has written of the period following his commitment to art that: "my examination of impulses, desires, and intentions finally began to coalesce in my journal-like Studio Notes with which I have developed the themes and procedures which articulate my meanings to this day. At that point I had abandoned illustrational strategies for paint-as-material processes, generally, as established by Pollock and his progeny. My wood carving gave way to making maquettes for Tony Smith-like sculptures.
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It featured contemporary works drawn from the Good-Horvitz collection and recent work by faculty at Kenyon College. It explored the ways in which communicating, mentoring and connecting through social networks influences the collaborative nature of art and presented works in the illustrational, folkloric, and narrative styles, works utilizing traditional craft skills and abstract works using photography and video media. Almost thirty artists were represented including the New York-based surrealist painter Inka Essenhigh, the multi-media artist Ann Hamilton, and Swiss-born "moving image sculptor" Pipilotti Rist. In November 2010 Girls' Club opened their first solo exhibition by the Miami-based conceptual fiber artist Frances Trombly.
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In 1936 he painted a mural called "Commerce" for the Flushing branch of the Queens Borough Public Library A critic for the New York Times pointed out this mural's "realistic illustrational" style noting that it depicted "rural fields and the Manhattan skyline, with crowds of dock loaders and businessmen flanking the central image of an artist (possibly Celentano himself) sitting at a drafting table, a worker among workers." In 1938, commissioned by the Treasury Department's Section of Painting and Sculpture, he made a mural called The Country Store and Post Office for the U.S. Post Office in Vidalia, Georgia. He also made murals for two high schools, Andrew Jackson (1940) and St. Albans (1941), both in Queens. In 1940 he painted a large mural called "Children in Constructive Recreation and Cultural Activity" in Public School 150 (Long Island City, Queens).
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