Sentences with phrase «allowing paint marks»
Bittman weaves her own textiles to create surfaces for painting, disrupting the hierarchy of two dimensional materials and allowing paint marks and woven patterns to be equally important.
https://www.arivergallery.com/ Not exact matches
This allowed them to unpick which amino acids in the protein's binding site are directly in contact with the drug from the «paint marks» they leave behind.
Combo's rightwing ideology gradually begins to seep into the film and makes its mark on young Shaun; but Meadows is careful not to paint Combo as a mindless thug, instead allowing him flashes of intelligence and articulacy, which in many ways makes him even worse.
It allows you to remotely open doors, hack security cameras and reveal creepy graffiti painted by the Mark Eko - inspired Malthusian terrorists.
There are fresh skins, emotes, harvesting tools, skydiving trails, gliders, back blings, and emoticons, plus the new sprays which allow you to paint tags on surfaces and leave your individual mark.
Their short length allows the reader to revisit the work in detail, focusing on sentences, phrases, or words as one might examine the painted passages or marks on a canvas.
O'Reilly's understanding of the language of painting as a medium allows for the evolution of narrative in his palettes and mark - making.
Art Basel Miami Beach, with GAVLAK Los Angeles / Palm Beach, Miami, FL (catalogue) Ten Year Anniversary Show, Gavlak, Palm Beach, FL and Los Angeles, CA Re (a) d, curated by Ryan Steadman, Nathalie Karg Gallery, New York, NY The Valentine's Day Cardiovascular, Geoffrey Young Gallery, Great Barrington, MA Puente, KINMAN, London, UK 2014 The Go Between: Selections from the Ernesto Esposito Collection, Museo di Capodimonte, Naples, Italy Art Basel Miami Beach, Gavlak booth, Miami Beach, FL 100 Painters of Tomorrow: New York Exhibition, One Art Space, New York, NY Inaugural Exhibition, Gavlak, Los Angeles, CA The Armory Show, Gavlak Booth, Pier 94, New York NY Painting: A Love Story, Contemporary Arts Museum Houston, Houston, TX (catalogue) 2013 Art Basel Miami Beach, Gavlak Booth, Miami Beach, FL (catalogue) This is the Story of America, Brand New Gallery, Milan, Italy Rema Hort Mann Foundation LA Arts Initiative Auction, Hannah Hoffman Gallery, Los Angeles, CA Acid Summer, Curated by Matthew Craven, DCKT Contemporary, New York, NY All Fucking Summer, Gavlak, Palm Beach, FL Whitney Museum Art Party Benefit Auction, Whitney Museum of American Art, New York, NY MiArt2013, Gavlak Booth, Milan, Italy The Armory Show, Focus: USA, Gavlak Booth # 908, New York, NY (catalogue) Art Rotterdam, Office Baroque Gallery, Rotterdam, Netherlands My Echo, My Shadow, Gavlak, Palm Beach, FL 39 Great Jones, Galerie Eva Presenhuber, Zurich (catalogue) 239 Days, School of Visual Arts MFA Alumni Show, Allegra LaViola Gallery, New York, NY 2012 News From Chicago and New York City, Curated by Henning Strassburger, Fiebach Minninger, Cologne, Germany Time, After Time, Curated by ARTNESIA, Ronchini Gallery, London, UK (catalogue) SUNY New Paltz Alumni Show, Dosky Projects, Long Island City, NY What's the Point, Jen Bekman Gallery, New York, NY It's a Small, Small World, Curated by Marilyn Minter and Organized by Hennessy Youngman, Family Business, New York, NY The Virgins Show, Curated by Marilyn Minter, Family Business, New York, NY Just the Tip, SVA MFA Fine Arts Thesis Exhibition, Organized in Collaboration with Mike Egan, Visual Arts Gallery, New York, NY (catalogue) 2011 MFA Fine Arts Fall Open Studios, School of Visual Arts, New York, NY Sentimental Education, Gavlak, Palm Beach, FL Things Fall Apart, Curated by Asya Geisberg, Visual Arts Gallery, New York, NY Abstract Means, Curated by Richard Brooks, Visual Arts Gallery, New York, NY MFA Fine Arts Spring Open Studios, School of Visual Arts, New York, NY Celebrating 15 Years: Young Artists at Heckscher, Heckscher Museum of Art, Huntington, NY College Art Association New York MFA Exhibition, Hunter College / Times Square Gallery, New York, NY Vuu Collective W / S 2011 Show, K&K Gallery, Brooklyn, NY 2010 MFA Fine Arts Winter Open Studios, School of Visual Arts, New York, NY Emerge to be Seen, Westside Gallery, New York, NY Marks That Matter, Juried by Gillian Jagger, Muroff Kotler Visual Arts Gallery, SUNY Ulster, Stone Ridge, NY The New, Art (That Matters), Oyster Bay, NY New York Art & Culture Exhibition Series, Albany International Airport, Albany, NY 2009 No Girls Allowed: BFA Thesis Exhibition, Samuel Dorsky Museum of Art, SUNY New Paltz, New Paltz, NY Best of Show: 2009 Best of SUNY Exhibition, State University Plaza, Albany, NY 2008 Crit 3: Work from Students and Alumni of SUNY New Paltz, Curated by Kathy Goodell, Spencertown Art Gallery, Spencertown, NY Somewhere I Have Never Traveled, Smiley Art Gallery, New Paltz, NY Three, Smiley Art Gallery, New Paltz, NY SPECIAL PROJECTS 2013 Shinola x Andrew Brischler, Installation & Capsule Collection, Tribeca Flagship Store, New York, NY Converse Footwear for Publicolor, organized by Grey Area COLLECTIONS Norton Museum of Art, West Palm Beach, FL AWARDS AND HONORS 2015 Painting Fellowship, New York Foundation for the Arts
Ms. Shank paints primarily on wood panel which allows her to utilize a variety of tools to «make a mark of meaning».
Canvases are titled at different angles every fifteen minutes, allowing the paint to move and leave its mark until the varnish is set and the desired image is achieved.
Profoundly influenced by Chinese painting traditions and techniques — especially the marks of the eighth - and ninth - century Yi - pin «ink - splashing» (or «flung ink») painters — mentorships from John Cage and Agnes Martin, and the harmony between man and nature espoused by Taoist philosophy, Steir considers elemental forces active participants in her work, intentionally removing herself from the action and allowing gravity, time, and the environment to determine the work's result.
Like Hofmann, Tétot relishes the hand painted mark, and is masterful at expressing depth by allowing contrasts between hues and tints to speak for themselves.
To make them Wittenberg lays printing glass over an ink study and paints in the images, allowing her to condense certain structural marks in unusual and counterintuitive ways so that instead of feeling modeled out of brushwork, they seem to be whirled onto the surface.
Organic shapes and tangled marks are executed with a loaded brush, allowing the figures to exist in a field of constant motion despite painting's persistent stillness.
His poetic use of found materials, printed and reproducible images, his unconventional and inventive mark - making, and his embrace of chance operations (whether dragging a canvas on the ground, allowing a drop cloth to absorb stains of nature and of the studio, or exposing the paintings to the forces of weather) can be seen echoed within Schnabel's entire body of work as well as in the work of a subsequent generation of artists.
She steeps porous open - grained cloth in paints or dyes, and also paints through fabric against the wall — allowing pigment to penetrate and mark the surface beneath.
With Desire Lines, Ramsay reaffirms her commitment to drawing and painting within a reductive system, while allowing a level of uncertainty and unconventionality to inflect the mark making.
Bucher allowed the material to harden and then peeled it off, producing translucent skins that held elements of paint, rust, dirt, and the minute details and markings of these historically loaded domestic environments.
Profoundly influenced by Chinese painting traditions and techniques — especially the marks of the eighth - and ninth - century Yi - pin «ink - splashing» painters — mentorships from John Cage and Agnes Martin, and the harmony between man and nature espoused by Taoist philosophy, Steir considers elemental forces active participants in her work, intentionally removing herself from the action and allowing gravity, time, and the environment to determine the work's result.
Even early on in his career his embrace of change marked him out, allowing him to break down all the existing divisions between painting, sculpture, printing, photography, dance, and forming endlessly inventive ways of forging them together.
Sharing an immersive figure - ground relationship, paintings by Elsworth Kelly or Mark Rothko can be all - consuming whilst Nintendo screens, as the artist explained «allow you to build new vectors of activity and anticipate space, as the eye and the mind move off screen or out of the picture plane».
Correa remarks: «Though much of my recent work has utilized print making techniques, I don't have any training or expertise in printmaking; what I like about it is it's physicality (I print by hand) and I like to think that my naivete allows for some diy ingenuity, or wrongness in printmaking can make rightness in painting... I've got a group of paintings made by painting on wine bottles and then wrapping and wringing canvas over them, and another group is made by painting through a blank silk screen, the screen clogs as I go, making it's own marks until its no longer useful.
Contrary to contemporary postmodern artists utilizing Letterform in art for mostly conceptual purposes, or Concrete Poetry that involves a form of Visual Poetry, Concrete Alphabets acts as hybrid where each artist defines his own work based upon unique personal narratives involving aspects of Letterform / Alphabets An important aspect of this shared perspective is how each artist has maintained and utilizes analog painting as a medium, thus allowing them to keep their own signature mark making prevalent in the artwork.
An important aspect of this shared perspective is how each artist has maintained and utilizes analog painting as a medium, thus allowing them to keep their own signature mark making prevalent in the artwork.
Parker photographed the marks moments before they were erased by a layer of magnolia paint, and the visible tide mark of the paint cutting across the top third of the photographs allows them to be read too as landscapes.
Clare Bonnet says: «Combining oil paint with a variety of other materials allows me to contrast areas of loose mark making alongside fine blending.
This actually allows Joe to maximize the chances of accidental marks and the picking up of materials appearing on his paintings, as well as a little bit of dirt which is always welcome — these sorts of improvisational moments make Bradley's work very untimely dynamic and unpredictable, which is exactly for what this artist goes for in his career.
The ultimate hardness of the material allowed it to remain unobstructed by the artist's hand and was a firm ingredient in eliminating the process of «mark making» so commonly associated with painting and drawing.
Her blood red paint is «at once bodily and ethereal — the paint, applied «wet - on - wet,» was allowed to bleed and coalesce, leaving a range of organic, accidental marks that complement the corporeal nature of the imagery.»
The 36» x 36» canvas oil painting is indicative of Dowling's training and approach to historic realism - as he puts it he makes a redaction to the image, allowing the erased marks to be...
The 40» x 40» oil on panel painting is indicative of Dowling's training and approach to historic realism - as he puts it he makes a redaction to the image, allowing the erased marks to...
The artist often paints on large pieces of stone, steel and slate, allowing the organic marks and colors inherent in the base materials to guide her hand.
She often pours onto previous layers, allowing the paint to flow organically in response to the preceding episodes of mark - making.
Brooklyn - based painter Keltie Ferris creates marks — smeared, sprayed and hand - painted — that solidify or dissolve into abstractions with a sense of perceptual depth that allows for multi-dimensional readings.
This vertical painting technique allows Verdier's mark making to be a product of the body moving freely, not restricted by the weight of the brush, playing with gravity.
Designed by Duncan Phillips in 1960, with suggestions from the artist, this chapel - like space allows visitors to view Mark Rothko's color - filled paintings without visual distraction.
This is especially marked if you stand as close (as allowed) to the work, recalling Kusama's admiration of the work of Barnett Newman, and his advice that his large paintings, the ones that took up one's whole visual field, were best seen up close.
These oil stick paintings bring a tropical flavor with them and their vine like forms and geometric grounds allow Thorne to create pictures from a sophisticated vocabulary of mark making that articulates form through the development of both a coloristic and textural space.