Sentences with phrase «less painting now»

Less painting now though, I only return to the masters, the early renaissance painters, Philip Guston, Alex Katz.

Although I use much less paint now than when I couldn't really afford it, 95 % of it still ends up in the bin.

Not exact matches

Not only may the paintings and sculpture you bought now fetch less money, but your own company's value may soon slide as well.

In an attempt to make their home less recognizable, the current owners have painted the house dark purple, and the familiar red door is now white.

I used to sell a lot of my paintings over 10 years ago with less skills in my craft / web design / social media etc and now I have way more, nothing is happening I used to sell a lot online worlwide (ebay mostly when it wasn't so crowded) so it's hard to tell who my ideal client was and when face to face, there wasn't a specific type.

FCA also released a production - numbers breakdown of the special - edition and special - paint Dodges it's built since 2006; collectively, they represent less than 11 percent of all of the 1.5 million Chargers and Challengers made between then and now.

These spyshots snapped by our European spy photographers show the X5 M with less disguise on, and you can see that behind the big black wheels, the X5 M is showing off it's big M calipers which are painted blue on this car, paired with large brake discs which are now cross-drilled.

The media used to take Amazon's side, but since Amazon's stock is a bit less attractive, along with the other growth tech stocks, not surprising the media is now frequently shifting from painting Amazon as the little engine who could to the big bad wolf.

Featuring 60 paintings and collages made between 1954 and 2013, the exhibition was monumental in both scope and effect: by showing a less frequently seen side of Katz's work, it prompted the viewer to reconsider the artist's overall project, now well into its sixth decade.

I'll be returning to this article for advice when I'm ready to invest the time; right now I allow myself less than two hours a day for reading FB & artist business blogs & artist research and schedule the rest of the time to building more original paintings and jewelry designs.

Wynn's loss figure of $ 54 million is based on his claim that the restored painting is now worth $ 85 million — $ 54 million less than what Cohen offered to pay for it.

Müller's Faust is now quite clearly a painter, his umber cloak streaked with paint, but he is less human.

They became more colorful and less representational, leading to his first totally abstract piece, Composition I, a colorful painting destroyed during World War II, known now only through a black and white photograph.

Once Motherwell became identified with his series of Elegies to the Spanish Republic, these pivotal paintings garnered less attention and are now no longer well known.»

To the consternation of some and the delight of others, the painting is now housed less than two miles away from the Corcoran at the National Gallery of Art — a public museum that is arguably the most prestigious in the United States — where its been brought into the permanent collection.

I've now gotten to a point where I can focus on my painting more or less full - time.

It might seem newly relevant, now that painting is back, but less as formal exercise than as a hybrid of styles and media.

A Christie's spokesperson said the glut of attributions was due to the fact that Old Master drawings are often unsigned and usually less well documented than paintings: «Many of the works were bought 20 — 30 years ago so it's not surprising that advances have been made that now help to narrow down and in many of the cases confirm a revised attribution.

Now that twenty years have elapsed since Minimalist artists broke with the older generation of Abstract Expressionists, it is evident that the younger artists found their roots within the less gestural branch of the New York School - in the simplified but profoundly moving paintings of Ad Reinhardt, Barnett Newman and Mark Rothko, rather than in European geometric painting.

Having already worked out issues in the first painting, and with it fresh in your memory, you can now create a new painting more quickly with less labor and more vitality.

While the move is less radical than routine (by now we've all seen paintings brought in to function as artifacts, arranged in concert with other art or art - like objects), it effectively releases Louis» work from its unimaginative role as illustration for Clement Greenberg, opening the work for new meanings.

Now, one of the things that's also striking, is that in «Look Mom,» you get these opaque surfaces, certainly less atmospheric than others ones, and you begin to see a clarification of the physical parts of the painting other than gesture.

But the picture is structured by a series of stripes that make it a cousin once removed to a contemporary stripe painting by Kenneth Noland, a painter whose work dominated art criticism at the time but which now seems much less substantial than Thiebaud's.

Artprice (March, 2016) notes that sale of drawings is booming along with Chinese art market among other factors, such as the scarcity of the Old Masters» paintings which is therefore being replaced by their drawings (thus increasing the total category of drawings); and the truth that drawings are no longer less valuable than paintings (drawings now represent 24 % of the global turnover of the market).

Now there is scarcely anything less enticing one could say about a painter's work than that it is concerned with painting itself, and that is not the case with Per Kirkeby.

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.

Gina began making abstractions in the studio and I began making large collages in acrylics; the colors I added became less about enhancing the colors in the subject and more about making new relationships emerge from the field — in this sense I see myself going back to the way I worked in «Night», although now including work from observation (I start the collages with painting outdoors).

National Gallery of Art, Washington DC Established in 1938 by the United States Congress, with a founding art collection from Andrew W. Mellon, augmented by donations from Lessing J. Rosenwald, Samuel Henry Kress, and Joseph E. Widener, the National Gallery now has one of the finest collections of Western painting and sculpture in the world.

The exhibit is organized in more or less a chronological order, which is perfect for an artist who went through various stages — there was fascination with photographic prints, silk screening, extensive collaboration with Merce Cunningham, sometimes with works created in real time as Cunningham's dancers trouped around, an idea of interactive art, in which the viewers were encouraged to tune a radio embedded in a painting to any station they wanted (needless to say, you should not try that now), and so on.

Marc Selwyn Fine Art is pleased to present an exhibition of reliefs, paperfolds and paintings by Eleanore Mikus (1927 — 2017), a seminal but until now lesser known figure in the history of minimalist and monochromatic painting.

His work has also been included in the recent group exhibitions Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950 — 1970, J. Paul Getty Museum, Los Angeles (2011 — 12); Then The Language of and Now Less, Museum of Contemporary Art, Chicago, (2011 — 2012); and Elogio del dubbio (In Praise of Doubt), Palazzo Grazzi, Venice, Italy (2011).

Suzanne Laura Kammin «s current exhibition, Greater and Lesser Vehicles is now on view at The Painting Center.

I'd argue that it's less interesting to see a Gerhard Richter painting paired with another Richter painting (abstract or figurative), or hung with a work from the same period made by an artist on the other side of the Atlantic (which is what lots of curators and collectors do now).

You know what I really love, that is less classic - heroic - artist in the New York School sort of way, is that I'm having more fun painting with gouache on small pieces of paper now than almost anything.

To the theme tune of an external hard drive processing fast — now pacing itself — now rushing at breakneck speed — the group of seventeen paintings, produced between 2000 and 2011, each beautifully reproduced in the well - designed catalogue — featuring a sharp, in - depth and elegantly - written essay by Goldsmiths» Gilda Williams — reflect the inner workings of a human brain constantly adjusting itself, adapting to each nuance of the ever - expanding, digital world while simultaneously filing, absorbing and recording the less serious, more random aspects — graffiti, toys, comic books, cartoon films — of modern times.

Painting seemed more wide open than it does now and maybe a little less self - conscious.

The means to gain such ends as we can now envision for abstract painting and sculpture will be simultaneously more exacting, and yet less to - the - fore, and at the service of the content of the work — if not indivisible from it.»

Now that you've taken a fresh look and allowed yourself to get out of the corner you painted yourself into, you will notice something amazing happen: More investment opportunities, less completion and more assets in your portfolio.

For now I'm on a tight budget too but I've already figured out a cool store where I can find things for a cheap price... You guys inspire me to start painting old and new cheap things (I even scored some cute frames the other day for less than a euro!)!!

After the less than stellar success of my front door, I'm a bit nervous about painting projects now.

They used BM paint all the time, but that is when I learned that Sherwin Williams is less now and about the BM price increase.

Now I'm just thankful that we never have to paint them again and that this is one less expense that I have to worry about.

I can relate, we had three kids all under 4 — now the oldest is 8, it does get slightly less «chaotic» Love all of the paint choices... I've been known to make my final selection just by paint name alone!