Sentences with phrase «above paint line»

When paint has dried, remove tape and move it to above paint line.

Not exact matches

Distressed murals inspired by the underground graffiti scene — created and painted by local artist Crystal Solis — line the walls while enchanting Japanese signage hangs from above.

A personal favorite of mine is the ten - foot rule, which I learned about when I asked why school walls frequently seemed to be painted only to a certain height; above that line and on the ceilings, the paint was often peeling.

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BMW Modern Line serves the cause of progressive elegance through the use of matt aluminium for the design elements mentioned above and a body - coloured paint finish for the cross rib in the centre air intake.

Among the upgrades we find exclusive designo Magno Selenite Grey matt paint, complete with yellow film coating and yellow sport stripes for the engine bonnet, roof, boot lid as well as the side lines above the rocker panels.

Examples from Rythm Master were featured in light - box displays in «Mastry,» the artist's retrospective (2015 - 2017); the series inspired «Above the Line,» a hand - painted mural installed along the High Line, the elevated park in New York City (2015 - 2016); and was the subject of an academic paper by art historian and curator Ellen Tani, delivered in 2016 at the Black Portraiture [s] III conference in Johannesburg.

The painting closest to Miró and Gorky already hints at a landscape by the sea, with a firm horizon line and blue background above it.

KERRY JAMES MARSHALL, Detail of «Above the Line,» 2015 (hand - painted by a professional sign company).

This particular comic painting, Above the Line, imagines the redevelopment of rooftop water tanks as luxury homes and condominiums.

, (1987), a black ink painting showing a lone surfer cutting his line across the face of a towering wall of water; above this scene floats the artist's seemingly rhetorical question.

Guston's painting, in terms of color, line and form, privileges these properties above all else so that what is eventually shown on the canvas is the artist's investigation into the plasticity of image - making.

New for me is the painting, above, in which patches of color are painted with roughly equidistant parallel lines.

The wonderful paintings by Maria Lalic here Bohemian Green Landscape Painting and Sevres Blue Landscape Painting, both constructed by placing two landscape oriented canvases one above the other creating a «real» horizon line, also have visual similarities to the Jean Spencer study.

Many of the vessels also abide by the doubling (above and below the water line, tight and loose, realistic and abstract) that make the paintings so admirably dialectical.

The picture is divided into nine sections — three distinct vertical panels marked by three horizontal bands of pictorial activity — and the image is almost quartered by the intersection of the red and white lines of paint mentioned above.

The painter Hope Gangloff specializes in portraits with strong contour lines, jewel - like color and abundant decorative interest — works that have earned her frequent comparisons to Egon Schiele and Gustav Klimt (especially when her subject is a pale young woman with flowing locks and a striated dress, as in the painting above from her current show at Susan Inglett in Chelsea.)

In a vast panorama seen from above, Chelsea Winter with Elevated Park: New York High Line (Mass Moca # 41)(2006), writing complements the visual choppiness of the city, adding scumbled urban texture in snow, the NYC High Line elevated train track a river of white dividing the painting, a kind of narration of the city.

A darker, thinner line of red appears above, like a mirror image that sandwiches the space and creates a world within a world, a wedge of red within the vast red sea of the painting.

Pictured above: Secondary Growth Line Extension, 2014, salvaged utility pole, wood, glass, steel, Styrofoam, paint, epoxy, cast urethane, 105» x 250» x 90».

«Scrim veil - Black rectangle - Natural light, Whitney Museum of American Art, New York» (1977) is comprised of a single scrim and painted black line, both just above eye - level, spanning the entirety of a cleared - out gallery on the fourth floor of the Whitney Museum of American Art.

I have moved on since then, but seeing one of Richard Smith's big multiple shaped canvases at Tate Britain recently, I found I still liked it, and liked it more than Noland's Another Line, on display in the same room, along with a vast, vapid Olitski spray painting, more than 20 feet long, not nearly as good as the ones I've illustrated above.

In Cain's painting, loose pink and gray graffiti - like marks appear above the gold leaf and then, suspended on top of the graffiti, is a frame of painted stripes lined with cut - out fringes along the bottom.

Above the horizontal line, Motherwell has dotted the canvas in rich sea green with an expressive flick of the wrist that feels overwhelmingly poetic, returning the painting to real world symbolism that resonates with the seaside influences of Provincetown.

Kandinsky was convinced by the emotional properties of shape, line and above all, colour in painting.

A temporary pavilion was constructed on the grounds of the monastery to house the exhibit, consisting of a square room painted black with one source of illumination — a thin, continuous line of light set into all four walls of the room at the viewers eye - level, serving as a horizontal division between above and below.

Plato's cave comes to mind, its lost souls blind to the ideal forms floating above, yet a comment by Gottlieb on this cycle is telling: «There is a horizon line in each painting» he said and «underpainting is used to tie sky, foreground and shapes together.»

In North America this fall: Richard Serra: ABOVE BELOW BETWIXT BETWEEN, EVERY WHICH WAY, SILENCE (FOR JOHN CAGE), (555 West 24th St., on view until October 22, 2016); Helen Frankenthaler: Line into Color, Color into Line, Paintings, 1962 - 1987 (Beverly Hills, September 16 — October 29); Georg Baselitz: Jumping over my Shadow (522 West 21st St., September 20 — October 29, 2016); Sally Mann: Remembered Light (976 Madison Ave., September 22 — October 29, 2016).

Often, these lines blur: the iconic Caspar Von Friedrich painting Wanderer above the Sea of Fog can be read as man conquering nature; man in awe of nature; or man's insignificance within the natural world.

How art ages MARTa Herford Museum, Herford Royal Awards for Painting 2011 Royal Palace, Amsterdam ILLUMInations The 54th Venice Biennale, Venice (catalogue) Too late, too little, (and how) to fail gracefully Kunstfort Asperen, Langedijk (catalogue) Image to be projected until it vanishes Museion - Museum of modern and contemporary art, Bolzano (curated by Mihnea Mircan) Radical Autonomy Netwerk / centrum voor hedendaagse kunst, Aalst Inside Installations Collectietentoonstelling S.M.A.K (Stedelijk Museum voor Actuele Kunst), Ghent (catalogue) Falten, Searching for White, Rise above Reason Martin van Zomeren, Amsterdam 2010 Taking Place Stedelijk Museum, Amsterdam Invisible Shadows, Images of Uncertainty MARTa Herford Museum, Herford (catalogue) Benefit Exhibition Kunst Halle Sankt Gallen, St. Gallen Starter Arter, Istanbul (curated by Rene Block)(catalogue) History of Art David Roberts Art Foundation, London Performative Attitudes Kunsthaus Glarus, Glarus Up to You Stroom, The Hague 2009 The Knight's Tour De Hallen Museum, Haarlem (catalogue) Sculptural - Collection S.M.A.K (Stedelijk Museum voor Actuele Kunst), Ghent Broken English Seiler + Mosseri - Marlio Galerie, Zurich 2008 Modern Museum of Arnhem Portfolio 1 Plan B, Berlin (catalogue) Schilders DCR, The Hague Geoair residency in Georgia, Tbilisi Mariakapel, Hoorn 2007 Billy town Rijswijk INSIDEOUT Moira Gallery, Utrecht Voorstel voor DCR Project Space, The Hague Drawing the line somewhere duo, Ned.

You would be correct in assuming that the above line might come from a Richard Prince Joke Painting.

The 1990s through the present has witnessed the continued efflorescence in painting, as demonstrated in this show by works such as Judith Godwin's Blue, No. 11 (1997), a lyrical expression of mixed emotion, Jasmina Danowski's Tender Trap (2012), in which the artist conveys a sense of moving through an aquatic and sensuous world, Carol Hunt's Easter Morning (2011), featuring a calligraphy of line and shape that conjures archetypal signs and symbols, Katherine Parker's Behind and Above (2011), a canvas built of thin layers of paint that the artist has scraped away to convey a metaphysical awareness of the passage of time, and Susan Vecsey's Napeague Bay, Montauk (2012), in which the subtle color stained into the canvas evokes the emotion of a place remembered and deeply felt.

Each painting — usually a square, as were the three big ones recently on display at Team Gallery in New York City — is constructed of rectangular color areas, loosely painted, laid one next to the other like blocks of stone; the horizontal line of each color block is separated from those above and below it (and from the top and, usually, the bottom edges of the canvas) by a continuous or broken line of colored «mortar.»

A later painting in the exhibit titled «To Charles Ives» (above), its calligraphic snaky lines eliciting homage or reference to Brice Marden, is an experimentation with laying rope on paint, pulling it off and scraping some areas to reveal layers of color beneath.

Once we painted above and below the tape, we removed the tape and nailed the trim over the bare tape line.