Sentences with phrase «artist face color»

The Artist Face Color powders would be perfect for me to try.

Have you tried the Makeup forever artist face color palette?

What I really like about the Makeup forever artist face color palette is that the formula is brilliant.

Not exact matches

Don't miss Discover West Concord Day with cake and ice cream to celebrate 28 years of Debra's Natural Gourmet, plus face painting, live jazz, a Mini Pumpkin Flower Arrangement workshop, coloring and crafts, local artists, free fudge, popcorn, pies, cider, a wine tasting, and so much more (Concord)

A better idea, says San Antonio - based celeb makeup artist Starley Murray: Test the lipstick on your fingertip — that way, you can hold the color next to your face to see how it looks.

With the Makeup For Ever Artist Color Collection, you can create a custom eyeshadow palette or face powder palette, allowing you to find your...

We might not be able to find the right cover when facing only a few options, but if we have thousands to select from (especially as many pre-made cover artists will allow tweaks of font or colors), our chances improve.

Sharon Amber Artist Sharon Amber is best known for her jewelry designs that incorporate local «gems» carved into mermaids, seascapes, and faces bedecked with exotic colored stones.

The aspects of the athletes were recreated through a structured light 3D scanner, slightly bigger than a classic DSLR, which reads the curves and color of their faces and gives a real - time 3D model, later refined by the artists.

One of the problems with turning your passion into your income source is that money has a dangerous tendency to color relationships — let's face it, to poison them — including the artist's relationship with her art.

Highway overpasses, empty offices, cityscapes, and even public figures» faces are reduced into planes of flat color, which the artist carefully paints in taped - off portions, creating crisp images that sit somewhere between the handmade art of paintings, cartoon - like animation, and mass - produced perfection.

Color Field was arguably the first major art movement initiated by a woman, and that woman was not present, in her own studio, to watch the wheels start turning in the heads of two male artists who, let's face it, were competitors?

Its garbled outlines and mostly dark colors yield two simplified heads facing in opposite directions, with a small figure in silhouette between them — the artist's originating triad of parents and child.

Playing with notions of intimacy and display, Reynaud - Dewar pays homage to four films by Bruce Nauman titled Art Make - Up (1967 — 68), in which the artist applies layers of makeup to his face and torso, first white, then pink, then green, and finally black — the same four colors Reynaud - Dewar covers her own body with as she performs throughout the Museum, using a different color on each floor.

Painting in this style forces Tull as the artist to look beyond the subject matter; to just let a face be an object, or a car just a block of color.

The older canvases on view were specifically by the Washington Color School artists, now remembered mostly for their dyed - canvas technique and status as an armament in Clement Greenberg's about - face on Abstract Expressionism, and included revelatory shaped paintings by Kenneth Noland, an almost - not - there Helen Frankenthaler, and this megawatt Jules Olitski.

Meanwhile, his inclusion sends a clear message to minority artists and art viewers that while the Whitney is welcoming on its face, the perspectives of people of color are subject to mediation by the white academic establishment.

Throughout his career, Bannard moved between the poles of Expressionism and Color Field Painting, resulting in a body of art that has constantly evolved as the artist forthrightly faced the situations that his art presented, reacting to them with rigor and intuition.

EXHIBITION: Goldschmied & Chiari: Untitled Portraits, Kristen Lorello, 195 Chrystie St # 600A, December 11, 2014 — January 25, 2015 Artists Sara Goldschmied and Eleonora Chiari present a series of photographs of colored vapors, which have been manipulated post-production and printed onto glass mirrors so as to reflect the faces of visitors amidst steaks of color.

Chuck Close's monumental mosaic - like portrait of fellow artist Cindy Sherman and two nearby self - portraits are composed of countless smaller elements that cohere into recognizable faces at a distance but dissolve into randomly colored and textured elements the closer you get to them, similar to the way photographs are printed in newspapers.

The artist intends to work directly on blighted houses and empty public housing projects to, as the artist has described, «Connect them geographically, to tease out their spirit by pasting the lines of a play onto their face; to insert voice and accentuate aspects of their structure or color on the surfaces of the houses.»

Founded in 1995 by Joseph «Rev. Run» Simons of the legendary hip - hop group Run - DMC, along with media mogul Russel Simmons and visual artist / community builder Danny Simmons, the Rush Philanthropic Arts Foundation began with the goal of filling the gap that «disenfranchised and people of color face in both accessing the arts and exhibition opportunities.»

Among them are the big, color «Map,» which would have been great to see paired with the darkly magnificent gray version loaned by the Broad's downtown neighbor, the Museum of Contemporary Art; «Diver,» a poetic eulogy to writer Hart Crane, with the artist's hands literally diving into a blackened sea of charcoal and pigment; and «Target With Four Faces,» a mixed - media work that juxtaposes a red - yellow - blue bull's - eye with four three - dimensional casts of an eyeless face.

The final selection series, drawing works, reveals the artist's emotions in union of free lines that rule unconsciousness and glamorous colored faces.

About Face — Nicholas Metivier Gallery, Toronto, ON MUTATED REALITY — Gary Tatintsian Gallery, Moscow The Art of Music — San Diego Museum of Art, San Diego, CA Le Souffleur — Schürmann trifft Ludwig — Ludwig Forum für Internationale Kunst, Aachen Destination Unknown — Talley Dunn Gallery, Dallas, TX Selfies and Portraits of the East End — Guild Hall Museum, East Hampton, NY Icônes Américaines — Galeries nationales du Grand Palais, Paris Diverse works: Director's Choice, 1997 - 2015 — Brooklyn Museum of Art, New York City, NY Fresh Prints: The Nineties to Now — The Cleveland Museum of Art, Cleveland, OH In Living Color: Andy Warhol and Contemporary Printmaking — Telfair Museums, Savannah, GA Still Life: 1970s Photorealism — Currier Museum of Art, Manchester, NH Very Important People — EOA.Projects, Abingdon, Oxfordshire SELF: Portraits of Artists in Their Absence — National Academy Museum, New York City, NY Face It!

Darryl Pinckney, «The Trickster's Art», The New York Review of Books, August 17 Philip Kennicott, «An artist who summons black faces and bodies at ease in the world», The Washington Post, August 3 Ratik Asokan, «The Painting is Presence», The Nation, July 1 Christian Viveros - Faune, «Lynette yiadom - Boakye Paints It Black At The New Museum», Village Voice, June 20 Zadie Smith, «A Bird of Few Words», The New Yorker, June 19 Moses Serubiri, «The Power of Color in Lynette Yiadom - Boakye's Paintings, Hyperallergic, June 15 Rizvana Bradley, «The Quiet Bohemia of Lynette Yiadom - Boakye's Paintings», Parkett 99, pp. 58 - 73 Antwaun Sargent, «Lynette Yiadom - Boakye's Fictive Figures», Interview Magzine, May 15 Jason Parham, «Considering Lynette Yiadom - Boakye's Borderless Bodies», Fader, May 11 Dodie Kazajian, «How Bristish - Ghanaian Artist Lynette Yiadom - Boakye Portrays Black Lives in Her Paintings», Vogue, March 20 «These 11 Artists Will Transform the Art World in 2017», artnet.com, January 27 «Bâle — Lynette YiadomBoakye — A Passion To A Principle à la Kunsthalle Basel jusqu'au 12 février 2017», diversions-magazine.com, Janartist who summons black faces and bodies at ease in the world», The Washington Post, August 3 Ratik Asokan, «The Painting is Presence», The Nation, July 1 Christian Viveros - Faune, «Lynette yiadom - Boakye Paints It Black At The New Museum», Village Voice, June 20 Zadie Smith, «A Bird of Few Words», The New Yorker, June 19 Moses Serubiri, «The Power of Color in Lynette Yiadom - Boakye's Paintings, Hyperallergic, June 15 Rizvana Bradley, «The Quiet Bohemia of Lynette Yiadom - Boakye's Paintings», Parkett 99, pp. 58 - 73 Antwaun Sargent, «Lynette Yiadom - Boakye's Fictive Figures», Interview Magzine, May 15 Jason Parham, «Considering Lynette Yiadom - Boakye's Borderless Bodies», Fader, May 11 Dodie Kazajian, «How Bristish - Ghanaian Artist Lynette Yiadom - Boakye Portrays Black Lives in Her Paintings», Vogue, March 20 «These 11 Artists Will Transform the Art World in 2017», artnet.com, January 27 «Bâle — Lynette YiadomBoakye — A Passion To A Principle à la Kunsthalle Basel jusqu'au 12 février 2017», diversions-magazine.com, JanArtist Lynette Yiadom - Boakye Portrays Black Lives in Her Paintings», Vogue, March 20 «These 11 Artists Will Transform the Art World in 2017», artnet.com, January 27 «Bâle — Lynette YiadomBoakye — A Passion To A Principle à la Kunsthalle Basel jusqu'au 12 février 2017», diversions-magazine.com, January 5

«It not only expands the roster of artists working abstractly but also bravely tackles the quandary of black women artists who often have had to overcome familial uncertainty with their chosen careers, and have had to harness color, line, and form to address the inevitable and unavoidable political and personal challenges they have faced in the world.»

«Pure Beauty» seems a funny name for a retrospective of an artist who cremated all his paintings in 1970 and voided the photographed faces of dozens of Hollywood starlets with signature colored spots, but of course an unsettlingly ironic humor runs through Baldessari's career.

Things have improved for women and artists of color over the last thirty years, but let's face it, the celebrity - obsessed art market and the galleries and museums that fuel it, really SUCK!

This year, the museum is asking social media users to place a special emphasis on sharing the stories of women artists of color who often face discrimination based on both race and gender.

His works still resonate a passion mixed with righteous anger, symbolic ingenuity, high visual impact, intelligence in the details, color - tastic cacophony and multi-cultural reach that is unrivaled by any other artist that changed the face of art back in the 80's.

Examples include a grid of 30 small color photos, all diptychs; videos that incorporate urban noises with close - ups of the artist's face; and several intricate large - scale pen drawings that alternately resemble close - ups of fingerprints, vascular systems and tangled rope.

Granted, in our uncertain post-election moment, artists and curators feel the need to respond to the imperiled conditions of life that many now face, especially people of color, refugees and immigrants, queer and trans people, women, and the poor — indeed the list stretches to include the entire planetary ecosystem, which is to say, all of us.

More recently, Sahib has experimented with relief and reflections of color; in works like Three in One (2013), the artist applies a bright color to the wall - facing side of a sculpture, which then reflects in a soft glow on the wall.

Read the text by the curator Claire de Dobay Rifelj about the show: «Walking into Maria Lynch's exhibition at Wilding Cran — the artist's first showing in Los Angeles — visitors come immediately face - to - face with a makeshift enclosure containing nearly one hundred large, and brightly colored, transparent beach balls.

at the Whitney Biennial highlighted the problems faced by artists of color.

This suite of six prints depicts the artist's face in profile, replacing his features with an array of bright gradated color fields, distinguishing each element with sharp contours and simplified forms.