Sentences with phrase «painting as shooting»

The exhibition, Painting as Shooting, focuses on a unique selection of some of the artist's most important projects from the last decade.

It is hereby that Liu Xioadong embodies the concept of «painting as shooting.»

Not exact matches

Delta attempted to paint the move as an apolitical one and an attempt to stay above the fray in the gun debate, which has been reignited after this month's shooting at a high school in Florida.

It's easy to see individual sins and their aggregate effect alienating people from one another and from God in Sandtown: shooting another human being or stealing to buy drugs are obvious as are landlords who won't deal with lead paint or officers who don't strap prisoners down in the van.

I hope you got into as much face - painted, monster - mashing, candy corn - eating, jello - shooting debauchery as we did.

In observing Collins during several games this year I think you need to back peddle a little bit as Collins does have some good skills on the defensive side and has potential with his shot although he has a slow release and prefers playing outside the paint.

I'd like to see his shooting «confidence» extend to confidence in his athleticism as he attacks the paint more.

But his shooting woes (29.6 % from three) are seen as a serious problem long - term, as defenses will be able to sag off him and crowd the paint.

Defenses have sagged in the paint more than usual without the threat of Embiid as they key in on Ben Simmons, who's shooting just 46.7 percent with Embiid on the bench as opposed to 58.4 percent when the two share the court.

Cav Paintings Cleveland forward LeBron James was all muscles and tats as he prepared to shoot a free throw during a home game against the Celtics on Jan. 9.

Last season, they were overly reliant on perimeter shooting — as evidenced by the 37 3 - point attempts and only 10 points in the paint against Mercer.

As an example, she mentioned that one of this year's presidential campaigns had painted the URL of its website on the roof of the campaign bus, knowing that helicopter camera shots of the travelling bus would be a staple of tv news coverage.

Paul Massey, the president of Cushman & Wakefield «s New York investment sales and a Republican candidate for mayor, made his case to Real Estate Board of New York members, painting the city as a failing place and taking personal shots at incumbent Mayor Bill de Blasio.

Eventually Espada and Monserrate rejoined the Democratic conference but the damage had been done - rifts in the Senate Democrats were made public, and they were painted as dysfunctional during their first shot at the majority in decades.

And seriously you could not have picked a better location to shoot, it's as if that sign and house were painted for you!

Spring is just teasing us now, this weekend I was ready and raring for sunshine & blue skies, but no, rain & grey skies greeted us as we popped into Winchester for a little coffee & paint shopping, plus of course the weekly outfit shoot.

There is also a dismaying laziness to the film's use of Mexico as a suppurating cradle of the occult, with its painted skull ornaments and flapping leaflets for Día de Muertos processions cropping up in every other shot.

Even when the film drags, it is pretty to look at, and many of the artfully constructed shots can stand alone as paintings.

Yes, he constructs various shots as paintings in a frame, but he does so with such a stylish, subtle touch the device never feels forced, and works on an almost subliminal level to enhance the richness of the film's scope.

It is ineffably grimy, each shot marred by a patina of unease and an indescribable ugliness that paints every attempt at comedy as vaguely grotesque.

Also, to Ms. Taymor's credit, she intelligently provides at times inspired touches such as — stop motion action shots, color tinting in brightly exotic desert shades, finely textured black - and - white sequences, shots of Diego in New York to do the Rockefeller commissioned mural against a lively Dadaist collage of the New York setting, Frida's dream of her hubby as King Kong, a puppet show in the hospital (with the help of the gifted Quay brothers animations of skeletons in the post-accident emergency room — the skeletons were copied from one of Frida's paintings).

The scene ends with Swinton's mother waking up and leaving her house to find it (and her car) splashed in red paint by her fellow citizens, as her son, possibly stewed in the resentment and frustration of the mother, has grown up to become a neurotic sociopath responsible for murdering his fellow students in a school shooting — which of course is young people splashed in a different kind of red.

Obviously, the coolest thing you can buy are more weapons such as ones that allow you to blast away with dual pistols, roll over foes with a giant paint roller, or pick off opponents via a charged sniper shot.

Gray's wide shots are among the saddest in contemporary film, and as a result the movie is pervaded by loneliness and resignation — intervals of space, sometimes akin to the ma of Japanese landscape painting.

As the quintuplets deal with a wayward hose shooting out compressed air, paint cans leave them all to sport a variety of colorful designs.

His luminous landscapes are reminiscent of Terrence Malick; his interior shots, often candle - lit, are compositions of light and shadow as elegant as oil paintings.

Together, they paint a puckish portrait of the auteur, from Bale's discovery that Malick would often shoot him surreptitiously — at last justifying his Method posturing between takes — to Chief Stephen R. Adkins of the Chickahominy Tribe revealing that «Terry» (always «Terry») told him to consider the title ironic after Adkins expressed his displeasure with a 5,000 - year - old civilization being Eurocentrically referred to as «new.»

A bolder, brasher film would have allowed these paradoxes to exist without painting Bulger as simply a tyrant, often the one doing the shooting or strangling, making him in that hand - on way feel smaller rather than the opposite.

Shyamalan presents a travelogue of this New Age world, showing us such locales as Northern Water Kingdom and Southern Air Temple, all of which serve primarily as pretty digital paintings in wide shots before heading back to the repetitive storyline.

«Oddball» is a decidely anachronistic presence as the leader of a tank outfit of pre-Beat, pre - «free love» hippies; they practice psychological warfare by playing music in battle and shooting paint out of their tanks.

Many scenes take place on a vast wooden stage, dressed appropriately for the scene, and every shot of the film is framed, lit and coloured as if it were a Renaissance painting.

LOVING VINCENT was first shot as a live action film with actors, and then hand - painted over frame - by - frame in oils.

Cinematographer Dick Pope, Leigh's long time collaborator, is shooting on digital for the first time for the director, and the result is as vibrant, as visually stunningly as Turner's own paintings.

Extreme close - up shots reveal tiny details rich with psychological significance, such as a scene in which Eva absent - mindedly scraping red paint off the ends of her hair with her nails.

«Don't Breathe» paints this ghost town with a bigger budget, and cinematographer Pedro Luque observes its wreckage with graceful camerawork, as in a long, uninterrupted shot that leads us on an elegant tour of the blind man's neglected Victorian home.

Conan took shots at NBC, delivering them with enough anger to paint them as more than mere jokes.

Taria A. Reed — She does her own photography, offers exclusive photo shoots if you want them, and hand - paints covers as well.

I got shot down a lot at first, because I was so busy marveling at the reflections on my jet's camouflage paint as I turned.

This approach is sometimes referred to as, «first you shoot the arrow, then you paint the target around the spot where it landed.»

The Deuce has not been forgotten in all this ultimate makeover stuff either, with four new paint jobs and upgrades like the Oculus of the Lost — a Tim Schafer take on the car GPS — and the Eye of Sorrow, which shoots projectiles of doom forged from the Sea of Black Tears, as well as something called The Disgorger and the Coiling Maw, your ride will be pimped, dawg.

You have those that fire out a high rate of ink like a machine gun or a chain gun, others that are more about slower considered shots in the same manner as a rifle, while others are giant paint rollers and basic brushes and buckets of ink.

In addition, other elements from shooters are featured here, such as super-powered bazookas that can cover a greater area with a single shot, and bombs that act as grenades, splattering paint across a limited area — and, again, «taking out» enemies in the way.

Described by the gallery as «his most political to date,» the paintings responded to current events, referencing police shootings, America's racial divide, and Fox News.

As ever, Kate Gilmore for Braverman in Tel Aviv maintains a sense of humor about sex roles and art, as she knocks over paint cans shot from above, like Jackson Pollock stuck on scaffoldinAs ever, Kate Gilmore for Braverman in Tel Aviv maintains a sense of humor about sex roles and art, as she knocks over paint cans shot from above, like Jackson Pollock stuck on scaffoldinas she knocks over paint cans shot from above, like Jackson Pollock stuck on scaffolding.

If individually some of the works bear a resemblance to film stills, installed across all three spaces of Victoria Miro Gallery the paintings gain a cumulative momentum that can be thought of as a kind of tracking shot.

The show includes paintings and sculptures by Body by Body, Aria Dean, Gardar Eide Einarsson, Hamishi Farah, Parker Ito, and Martine Syms, as well as videos by Chris Kraus (Terrorists in Love, and How to Shoot a Crime, with Sylvère Lotringer), Bunny Rogers (Mandy Piano Solo in Columbine Cafeteria), Sturtevant (Warhol Empire State), and Jordan Wolfson (Con leche).

Continuing an anthropomorphic sensibility begun in her dart paintings, Feu à volonté featured two works, Homage to Bob Rauschenberg and Tir de Jasper Johns (both 1961), which Saint Phalle gifted as individual «portraits» to her friends after inviting them to execute the shootings prior to installation.25 Reviewing the show for the New York Herald Tribune, John Ashbery noted the general significance of her intervention, writing, «[She] has invented a new kind of painting that must be finished by the spectator [emphasis mine] with the aid of the rifle bullets fired at the canvas.»

His small oil - on - canvas head - shot paintings of family members are as texturally dense and detail - specific as ancient Egyptian Fayum portraits.

The Brooklyn - based artist's process for making her black - and - white films involves shooting imagery on Super-8 and 16 mm film — as well as digital and mobile phone platforms — which she then manipulates and projects onto paintings before finally screening and reshooting works to abstract ends.

As a sign of the times, those new paintings have taken a brutal turn — they're at once more abstract and more clearly violent, even political, showing little black girls defaced or wielding handguns, occasionally shooting each other dead.