Sentences with phrase «many ends of painting»

People who can't figure out which end of a paint brush to hold are acting as general contractors when rehabbing older places.

I just painted a base color and started making polka dots using the end of a paint brush.

Try this negative nail design by using the flat end of a paint brush and dot accordingly.

Using the end of a paint brush, I gave each cup a sprinkle of polka dots to match each egg.

This is the computer version of an art activity that used to involve colored crayons, black paint and drawing by scratching in the wet paint with the blunt end of a paint brush.

Traveled to Wriston Art Center / Lawrence University Appleton, WI Shoshana Wayne Gallery «The Ends of Painting: The Edges of Abstraction» curated by David Pagel (catalogue) Santa Monica, CA 1989 Knoedler & Co..

But to tell it, we will have to turn away from the postmodernist obsession with the proclamation of the End of Painting.2 We also need to move away from the period's own «return» of painting in an abstract mode, the 1980s developments variously baptized «neo-geo» or «simulationism,» in which histories of abstraction were programmatically subjected to the strategies of appropriation or the readymade.3

On the other hand, it is viewed, derisively, as a dehumanized dead - end of painting.

With the exception of the few black shapes that made their appearance at the start and the end of her painting life, Martin's palette is airy and light — neither heavy nor dark — and it's no stretch to associate this with the classicism she espoused or with the ideas of perfection and joy and innocence, and so on, which held her rapt.

The Raw and the Cooked, Shirley Kaneda and Roland Flexner, by Devon Golden Dan Walsh: The Endless End of Painting, by Joan Waltemath

Indeed, they were so radically new that they seemed to many to announce the end of painting, and perhaps of art itself.

Each artist questions the means and the ends of painting in contemporary art, quite clearly demonstrating that as contemporary theory re-appropriates art history, so does contemporary artist re-appropriate the act of art making.

1990 TIME, A Portfolio of Etchings, Marc Richards Gallery, Santa Monica, CA The Ends of Painting / The Edges of Abstraction, Shoshana Wayne Gallery, Santa Monica, CA 1990 Phoenix Triennial, Phoenix Art Museum, Phoenix, AZ Past & Present, RosamundFelsen Gallery, Los Angeles, CA Eastern Aesthetic, Allport Gallery, San Francisco, CA

Nothing but clearly - organized, self asserting painted surfaces of non - objective / non-representational form and color, these pictures were so radically new that they seemed to many people to have announced the end of painting and, even perhaps, of art itself.

In the middle of it all is Robert Rauschenberg's White Painting (1951), one of the earliest pieces in the show and perhaps the one which, in its simple paradox of filled - in blankness, epitomises the cyclical quest for the end of painting.

Although he saw Rauschenberg's Combines as a «preliminaries» to his own work and regarded their object - like dimensionality and inclusion of found objects as «radical,» Donald Judd could only see Rauschenberg's continued interest in painting as «conservative» and too closely tied to traditional representation.6 From Judd's perspective, Rauschenberg failed to understand fully the monochrome's pronouncement of the end of painting — an end that, when read in conjunction with Marcel Duchamp's readymade, authorized the move from painting to the three - dimensional realm of «Specific Objects.»

The painting is a sophisticatedorchestration of positive and negative space, with the depicted herd appearing as bright negatives, and the groups of trees, their trunks and foliage rendered as a series of scraffito - like marks (perhaps made with the end of a paint brush) to reveal lighter hues beneath the final, glowing earth tones.

Despite repeated pronouncements on the end of painting since the later»60s, her work proposes that it still can.

The Black Paintings marked both a beginning and an end: the end of painting as illusion, as a window onto the world, and the beginning of painting as the mode for the creation of self - sufficient perceptual objects — a change that granted new roles to both artist and viewer.

He questioned the «End of painting as art?

The big questions, such as the end of painting with the birth of photography, or the polarization between abstraction and representation, are just meaningless in the world of Postmodern thought.

Kasseböhmer's decided renunciation of irony struck a distinct contrast to many of his contemporary Cologne painter colleagues and their ideas about the end of painting.

KSWithout belaboring that «end of painting,» I guess one of the things that interest me about that work of David's, and it's the same thing I see in yours, is that it holds together the abstract and the pictorial, the process and the image, in a way that I also see in Georg Baselitz and other people.

I was really enjoying the idea's she was giving me but by the end of her painting I was excepting the kitchen sink as a birdbath!

The camera work is not great at the end of the painting.

Best known for his fastidious paintings of geometric solids composed by chance through a system involving the roll of a die, Daniel Aksten's work in Support, Edge, Variation continues to stress the conceptual end of painting, as container of visual experience, true unto itself.

From then on they were the subject of a widely conducted debate over the goal and future of painting, charged with emotions that erupted in numerous articles such as «The End of Painting» or «Last Exit: Painting».

By the end of the 1970s, when cultural critics began speaking of «the end of painting» (the title of a provocative essay written in 1981 by Douglas Crimp), new media art had become a category in itself, with a growing number of artists experimenting with technological means such as video art.

Rumpled canvases and broken studio paraphernalia: is Angela de la Cruz mourning the end of painting itself, asks Adrian Searle

200 years after the end of her painting career, it's high time Louise Élisabeth Vigée Le Brun (1755 — 1842), better known as Vigée Le Brun, had a major retrospective.

And yet while his peers eventually explore what they thought would be the end of painting with avant - garde performances and minimalist works that functioned between art and object, Boyd moved forward with an obsessive painting practice.

Her 2010 retrospective at the Moderna Museet in Stockholm organized the works into eight categories: early works and beginnings in New York, the Airplane series, A phallic world, Tools, abstract paintings, text - based conceptual works, «the end of painting,» and the Wave series.

I mention these three artists because each of them hit their stride in the 1970s, or, after the «1960s,» when, according to Douglas Crimp, in his essay «The End Of Painting» (1981), «painting's terminal condition finally seemed impossible to ignore.

Possibly the end of painting or photography, but the blank canvases can simultaneously be seen as new beginnings.

Douglas Crimp speculates in his landmark essay «The End of Painting» on the potentiality of painting to maintain its sta...

So I'm starting in 1981 because it's the year that Douglas Crimp publishes his essay «The End of Painting» and the Royal Academy in London does a show called «A New Spirit in Painting.»

Many ends of painting have been called: showing the world, displaying pure form or color among them.

Dumas matters as one of a number of now middle - age painters who dealt with the apparent dead end of painting after modernism.

But the evolution of his work from 1954 to1970 tells a beautiful, rigorous and profound story of the end of painting in a way that no other artist's work does.

«This superb collection of newly classical writings proceeds from the virtual end of painting in 1981 to its many re-emergences, all the more vital each time.

Aligning the engagement of his work with the critical discourses surrounding the «end of painting» and conceptual and minimalist strategies throughout the 1960s and 1970s, this book presents Hepher's oeuvre as a «British realist response to modernism» and a highly theorised engagement with painting.

Jackson Pollock and de Kooning, they kind of nailed it, and that was the end of painting, in a sense.

To say no... is undoubtedly an act of denial, for it has never been more evident that most paintings that one sees have abandoned the task that historically belonged to modern painting (that, precisely, of working through the end of painting) and are simply artifacts created for the market and by the market (absolutely interchangeable artifacts created by interchangeable producers).»

This exhibition is about abstraction and the end of painting, often proposed but never concluded.»

I always lean toward the more colorful end of the paint deck, as I know from experience that the right color can sell a home.

Glue the end of the paint chips to the shade.

To judge how many strips you need, rest the seam of your lamp shade on the end of the paint chips and roll it until you reach the seam again.

And then I went to the opposite end of the paint chip for one side of the hallway with a medium toned grayish green.

Of course, this certainly won't be the end of painting projects around our house.

Not exact matches

By contrast, plenty of paintings on Wednesday sold at the lower end of estimates, and some, like Jasper John's «Disappearance I» failed to sell at all, the New York Times reports.