Sentences with phrase «image painting offers»

Not exact matches

The GTWIST Cap offers new, elegant, premium top image emboss, decorated side foil or paint and new GINK technologies to allow more creativity.

The program tries to find shortcuts to store an image in the smallest number of bits — the more complex the piece, the longer the string of digits used to store the painting on the hard drive, offering a more objective measure that human judgement.

An icon (from Greek εἰκών eikōn image) is a religious work of art, most commonly a painting, from the Eastern Orthodox Church, Oriental Orthodoxy Icons - Land offers Vector Icons: Transports, Points of Interest, Sports.

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This, coupled with the fact that certain reviews have personal opinions on what a person liked and didn't, begin to paint a conflicting image of what a game has to offer.

The exhibition, the artist's first solo show of paintings in New York in six years, continues to reveal Taaffe as a philosopher of painting, offering compelling meditations on art and culture, both contemporary and historical, and visual ruminations on the interrelated families of forms and images in art, architecture, and archaeology.

With edges that look as friable as leftover slices of wedding cake, the paint shards offer a destabilizing context for these disorienting images, so thoroughly imbued with a tenuous «Through the Looking Glass» spirit themselves.

In «La Condition Humaine» Karen Carson pushes the conceptual boundaries of image / text juxtaposition by offering large banner - like paintings with kitschy type situated above and below loosely rendered yet enigmatic faces.

Cavaino's paintings offer subtle suggestions of images; hints of forms which hover on the verge of definition, confident in their location just outside of representation.

, the paintings hint at a subtext of dependency and need; instead of a glittering, media - friendly spectacle of strength and sassiness, Thomas's images of black femininity are full of love, because they allow for vulnerability and offer no resolution.

His mind's eye has one image offering the mystery of an operatic masked ball while another is reminiscent of a Robert Motherwell painting.

Across all these works, McElheny hopes to suggest the possibility of an expanded experience of viewing, a view of the images that exist within painting where the viewer's own physical movement offers additional vistas, imaginary or not.

by Alan Feuer Boston Globe, Nov. 16, Intimacy of attention paid in close up by Sebastian Smee Brooklyn Daily Eagle, Nov. 16, «Visions of an American Dreamland:» New book and Brooklyn Museum exhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Right Up!

For Immediate Release: Spring MFA Exhibition Series, March 5 - April 6, 2018 Images and press contact: Cynthia Farnell, Gallery Director, [email protected], [phone] The Master of Fine Arts studio program at Georgia State University, Ernest G. Welch School of Art & Design offers concentrations in Ceramics, Drawing and Painting, Printmaking, Graphic Design, Interior Design, Photography, Sculpture, and... more»

The fascinating world of watercolor landscape paintings offers images which, not only celebrate Nature, its lavish landscapes, beaches, and wildlife but are images which give praise to one of the oldest techniques in art history.

Often represented in hues of violets, blues and reds, Bracha's works offer abstracted configurations and spaces created by the materiality of oil paint, ink, and the powered ash of photocopying dust, the undulation of light and shadow, and the traces of fragmented, ghostly images that appear and disappear.

This exhibition includes two new groups of paintings: a selection of self - portraits and a series depicting the Million Man March on Washington, D.C. Displayed as counterpoints in two separate galleries, the self - portraits offer discrete views of the artist as a private individual with a public persona, while the Million Man March artworks — large, unstretched canvases screenprinted with mass - media images — portray arrays of anonymous individuals brought together at an epochal moment for the African American community.

This image offers a clear view of the outlines of drips from the new coat of paint and highlights the dramatic variations in sheen across the overpainted area and the surrounding surface.

KAWS» deep black Michelin - like figure CHUM (2009) stands determinedly next to graphic paintings by Gokita, offering his protection to the naked and faceless vulnerables posed in the images, while ACCOMPLICE (2010)-- a matte black toy bunny sculpture with large Xs covering his eyes — stands hunched in defeat across the room, out of sync with the bright canvases that surround him.

The stretchers offered a foil to the novel images, as yet seldom seen in contemporary painting.

While White Cube offered a stunning Christian Marclay painting and Sprüth Magers gave a selection of creepy yet tremendous Ryan Trecartin framed images.

Filled with extraordinary color plates and personally selected archival images, this comprehensive book offers a rich overview of more than two decades of her brilliant and controversial paintings, along with interpretive essays by Bedford and leading art historians Suzanne Hudson and Catherine Lord, a text by Pulitzer Prize - winning writer and physician Siddhartha Mukherjee, and an interview with the artist by art historian and curator Katy Siegel.

In contrast to the immediacy of social media and the digital age, Helvie's paintings offer an inherent slowness: in order to really see the image, they demand patience, submission and meditative appreciation.

Richard Aldrich, who insists that for him painting is the opposite of «impossible», offers four isolated images using four distinct techniques and four representational languages: the syntax of looking we use to reconcile them leaves meaning itself provisional.

The gallery, located in the basement of the bookstore Les Extraits offered eight new paintings on wood, a beautiful installation made of transparent fabrics and a wall painted for the occasion next to the parking place (images below).

In creating CORE, Rauschenberg blended silkscreen techniques with traditional painting techniques, applying brush strokes and stains to the printed images offered in this rather special collage.

Adnan's leporellos, or folding books, offer a compelling fusion of written texts and painted or drawn images.

Whether a landscape painting from the late 19th century or a self - portrait photograph from 1984, these 2 - dimensional works offer the opportunity to consider the role of the artist - and, by extension, the role of anyone - in creating images and constructing stories.

The things in question are paintings, drawings, collages and etchings that he produced in the 1970s, before he became in the 1980s a celebrated neo-conceptual artist known for appropriating — and offering commentaries on — images from advertising and elsewhere.

For each painting we offer a compact essay and a brief artist biography, along with a zoomable image.

After the intimate vistas of McElheny's «paintings», he offers a different kind of contemplation in the second part of the exhibition, through the combination of image and language.

As an image archive, work tool and artist's book, Atlas sits at the very heart of Richter's practice, offering a massive summation of his masterful explorations of the tensions between photography and painting, history and memory, perception and representation.

Dr Maria Balshaw, Director of the Whitworth and Manchester Art Gallery said: «Raqib Shaw's magical paintings offer a highly complex, absorbing semi-autobiographical space to think through both image and issues of identity.

The book offers an intimate introduction to Steir's most recent paintings and includes a conversation between Steir and Sylvère Lotringer, the founder ofSemiotext (e), as well as three poems that Steir published in the «Schizo - Culture» issue of the magazine; «Trance Abyss,» a poem by Anne Waldman; an essay by art historian and curator Courtney J. Martin; a detailed chronology illustrated by archival images; and high - quality photographs of Lévy Gorvy's installations in both New York (currently on view), and London (2016).

Nevertheless, the paintings in this exhibition offer the most astute and up - to - date comment on the questions and problems of image - making in a post-structuralist climate.

The exhibition offers a compelling overview of her work, exploring the physical and psychological reality of human existence and the importance of the painted image.

Action painting offers a way to break free from confining notions of image making.

A companion volume to that project, this publication offers a stunning array of images drawn from a variety of sources, including WPA documentary photographs, Old Master oil paintings, contemporary art, and photographs by Lockhart herself.

Rochelle Feinstein offers a fairly idiomatic abstract painting which she disrupts with an acetate film of an image of a luggage ramp in an airport.

Loving to consider life from a child's point of view, the new paintings treat familiar images we had enjoyed as children and seem to offer a moment of repose from the anxieties of life.

Although Frankenthaler has renowned paintings, like Monet - with whom she has been compared, as his work is also «formless,» offering mere color - she is identified with her oeuvre rather than a single exemplary image.

The space offered this commentary on his most recent solo show: «Rather than a collage that expects «new» meaning to emerge out of the juxtaposition of different visual orientations, his paintings aim for the disappearance of one image into another, one narrative into another, one system of seeing into another, and are haunted by the desire to move away from what it originally was.»

He is noted for his large scale landscape painting, thick with impasto, which offer powerful images of instantly recognisable parts of the Irish scenery with large abstract sections denoting the relentless and elemental force of wind and sea.

If I knew how to put up an image on abcrit I could show you a thousand examples of paintings where this is obviously not the case, but one example I have offered you before is Kandinsky's 1917 abstract pictures.

The cameras also offer a wide variety of extra features, including a wide aperture effect mode, a neat light painting feature, and the ability to refocus images after you've captured them to change the bokeh effect.