Sentences with phrase «as paint stripping»

Not exact matches

Obama gave a masterclass in the controlled use of populist discourse in his re-election campaign last year, painting Romney as an out - of - touch, asset - stripping plutocrat on the wrong side of the Main St vs Wall St divide.

Think of it as stripping damaged wallpaper off a wall before a new paint job.

The elements — painted paneling, beadboard cabinets, a butcher - block island countertop, open shelving, a simple striped valance, a resourceful cookbook nook and mouth - blown glass pendant lights — come together to create a design that looks as great as it works.

So I stripped the top as I has special plans for that and painted the rest with Miss Mustard Seed Milk Paint in Apron Strings a gorgeous coral to raspberry pink (it really has various shades in it, it is such a hard colour to define, but it is gorgeous).

Tag - lined as «An Uncomplicated Indulgence,» the line has grown into a collection of colorful bands of stackables that live somewhere between strips of candy confections and a child's paint box palette, albeit, in more sophisticated colors.

There are some brands, such as Annie Sloan, that say you can paint over wax without stripping it if both the paint and wax are their brand.

One person suggested using chalk paint and not stripping them??? I'm pinning you and hoping I get around to making mine as beautiful as yours very soon!

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The bed was fitted with new box angles and skid strips, which were painted the same color as the body.

Two new metallic paint finishes are available, as are three new wheel rim designs and additional upholstery variants and interior trim strips.

In front, three very large air intakes shape the front bumper section of the Golf R where louvres on the intakes are painted in high - gloss black, and standard LED strips that serve as daytime running lights are integrated in the two outer air intakes.

The car was stripped to bare metal and sprayed using correct single stage paints, as used at the factory.

In front, three very large air intakes characterise the Golf R in the bumper area; the louvres on the intakes are painted in high - gloss black, and standard LED strips that serves as daytime running lights are integrated in the two outer air intakes.

It \'s powered by the FAST 4.0 L V6 engine and comes equipped with GREAT features such as automatic transmission, \ «Mustang \» door striping, factory painted rear spoiler, premium pony package, power everything and many more options.

After Ubisoft's fantastic début of the «The Sands of Time» saga, and a subsequently thrilling trilogy, the series was given a fresh lick of paint, and relaunched as a cell - shaded, fluid, platforming game that stripped away the revered time control ability, and replaced it with a magical female partner.

One room holds seemingly flat, colorless constructions composed of woven strips of canvas that, from a distance, look like monochrome paintings or fabric, but which when viewed from near and then farther away yield not only painterly shadings but also an unexpected burst of optical illusion, as evidenced in Chiral Fret (Meander) / Extrusion / Ghost (2015).

Ironically, those earlier works were theorized as embodying pure painting, supposedly stripped of extraneous worldly concerns.

He studied art at the Carnegie Institute of Technology from 1945 to 1949 and then went to New York City where he became an illustrator until 1960 when he began making paintings based on comic strip characters such as Popeye, Dick Tracy, and Superman.

Aside from Arcangel's acute portrayal of contemporary American identity as the sum total of its readily available, mass market hyper - branded goods, his agglomerative sculptures also refer back to specific moments in recent art history, such as the Minimalist «planks» of John McCracken, the consumer good presentations of Cady Noland or Haim Steinbach and, most specifically, to the striped, painted poles of André Cadere.

We also loved the quirky view from above and the way that the gorgeous aqua - green and white of the striped fabric — a portion of one of Diebenkorn's childhood bedspreads — enlivens the painting as textiles do in so many of Matisse's canvases.

The work can be read as both sculpture as well as painting, an opulent, textural assemblage of paper strips that unfurl and cascade over the surface.

Using a comic - strip technique and harsh discordant colors, his paintings comment on such social topics as the homeless and the Ku Klux Klan.

He began to produce his monumental paintings, stripping away unnecessary information and representing his subjects in a way that is as much about the essence of form as it is about light, time, and the appearance of the world around him.

Just as important, this painting is not an early modern balancing act, with this strip here offsetting that strip there.

Comic strips, squirts of oil paint, art magazine illustrations, and a host of textiles jostle for attention, and gestural paint strokes drawn directly from the vocabulary of Abstract Expressionism carry the same compositional weight as newspaper clippings of car thefts and department store advertisements.

Corrupted patterns and broken swirls will translate into inner tubes for Gareth James, a floral curtain for Simon Starling, a lattice of paint strips for Cheyney Thompson, and canvas as wallpaper for Annette Kelm.

A strip of wood, painted in diagonal stripes like a barrier at a construction site, serves as a warning, but of what?

Burlap sacks were introduced, in homage to Alberto Burri, though they were stripped of the painting frame and exhibited as objects in space.

Nelson often incorporates unconventional materials, such as cheesecloth, modeling paste, or strips of painted fabric or painted string to the work to add textural elements to her paintings.

Rothko gets the central rotunda for six of his sonorous, saturated - colour field paintings, while Barnett Newman is perhaps even better served with his sculpture Here I (to Marcia), a towering strip of bronze, standing in front of three of his majestically sombre blue paintings, as though it's been torn out of the painting to become something tangible and actual.

Early on, she worked in collage as well as paint: The Image As Burden includes several examples, perhaps the most significant of which is Love Versus Death (1980), in which two «clue - strips» consisting of various photographs and newspaper clippings (Steve Biko is among them, and so, too, is Peggy Guggenheim) suggest ways of reading the work's central panel of drawingas well as paint: The Image As Burden includes several examples, perhaps the most significant of which is Love Versus Death (1980), in which two «clue - strips» consisting of various photographs and newspaper clippings (Steve Biko is among them, and so, too, is Peggy Guggenheim) suggest ways of reading the work's central panel of drawingas paint: The Image As Burden includes several examples, perhaps the most significant of which is Love Versus Death (1980), in which two «clue - strips» consisting of various photographs and newspaper clippings (Steve Biko is among them, and so, too, is Peggy Guggenheim) suggest ways of reading the work's central panel of drawingAs Burden includes several examples, perhaps the most significant of which is Love Versus Death (1980), in which two «clue - strips» consisting of various photographs and newspaper clippings (Steve Biko is among them, and so, too, is Peggy Guggenheim) suggest ways of reading the work's central panel of drawings.

In fact, Rauschenberg and Johns belong to abstract expressionism (with Jim Dine a variation on their themes), Rosenquist is a billboard Surrealist who marries Magritte's paint handling to collage space, and Lichtenstein is a hard - edge painter, whose two - dimensional surface patterns and crisp outlines derive as much from Kelly as from comic strips.

Collecting Matisse and Modern Masters includes iconic paintings by Matisse such as Standing Odalisque Reflected in a Mirror (1923), Interior, Flowers and Parakeets (1924), Large Reclining Nude (1935), and Striped Robe, Fruit, and Anemones (1940).

30 Glueck describes the White Paintings as precursors to «Cool» (her term for the stripped - down painting and sculpture that had yet to be assigned its «- ism»).31 For his part Pincus - Witten conceded that, as works of 1951, the White Paintings had been important precursors to «the current minimal mode.»

Camil specifically channels Frank Stella's Copper Paintings (1960 - 61), a series that presented his first use of tape to create repetitive striped patterns, a mechanical appearance inevitably pointing to the idea of painting as object.

Lewis works in a similar recyclical structure where paintings are sliced, stripped and reconstituted as the artist responds to and drives forward a circular artistic process.

The revelation can be architectural - as in his 1973 work at the Galleria Toselli in Milan, where he had layers of paint stripped from the walls to expose the original plaster surface - or functional, as in his piece for the Claire Copley Gallery in Los Angeles, in which he made public the business operation of the gallery by removing the wall dividing the exhibition area from the office and storage space.

One can see the dynamic cubist cityscapes of Lyonel Feininger's paintings from the early 20th century as well as the expertly crafted pin - striping of American hot rod car culture.

Taking in the legacies of American landscape painting and reductive modernism, as well as tourist photography, fashion advertising, generic stock photography and the aesthetics of clearance sales and shop - window display, the work looks to where one finds the sublime and the utopic in the experience of the everyday, be it in a temple, on a treadmill, at a designer clothing sale, or at the bottom of a whiskey - bottle — complex plays of crafted and consumed desire, scrambled and stripped.

In As Water Is in Water, a collaborative work with musician Tashi Wada, Madison Brookshire (appearing in person) digitizes and loops strips of film that had been soaked in paint.

Here, Weil takes one of the most iconic paintings in history, strips it down and injects her own visual vocabulary, focusing on the Apostle's hands (hands are a recurring theme in her work), as well as the image's innovative use of perspective.

Rauschenberg's inventiveness with painting's physical means, most specifically his use of paint - dipped newspaper strips as the equivalents of painted brushstrokes, resulted in a composition that readily «loses its identity» in Albers's sense of that term.

[9] Critic and pop singer Momus described Tuberama as «the musical of the short story of the cartoon strip of the painting, is about sitting on the tube and feeling paranoid about the people opposite you: who would be their leader if the train broke down for a week?»

`' Roy Lichtenstein's triple screen film installation is a mesmerising hybrid of film, painting, billboard, comic strip and kinetic spectacle... Lichtenstein's only venture into filmmaking premiered at the Los Angeles County Museum of Art in 1971 as part of the ground - breaking Art and Technology program.»

Pensato models her paintings not on comic strips or animated cartoons per se but on their afterlives: Utilizing a composite of sources, she paints cartoon - themed objects from her own collection of flat cutouts originally intended as advertisements, and discarded toys.

Meticulously painting words and phrases, Sears then saws his pristine works into strips and chunks which he then uses as a palate, creating geometric assemblages.

Kuwayama soon developed his own distinctive reductive style, typified by vivid fields of paint juxtaposed in horizontal and vertical compositions, as well as monochromatic canvases bisected by thin strips of chrome.

In a way, as critic Charles Darwent has written, Ofili «seems to be reliving 20th - century modernism backwards,» cycling through clear formal periods wherein his compositions have become more stripped - down, foregoing the dense layering and collaged elements of earlier works, and often focusing on a limited color palette — including the red, green, and black of Marcus Garvey's pan-African flag in the series of paintings he began in 2000 and showed in concert in an immersive environment at the 2003 Venice Biennale's British Pavilion.

(born 1938, Bronxville, New York, USA) in his earliest mature works explored a reductive strategy which seemed similar to that of Jasper Johns's and Ellsworth Kelly's contemporaneous works, yet more formalist: paintings such as Return 1 consist of subtly grey fields painted in encaustic (wax - medium) with a narrow strip along the bottom of the canvas where Marden left bare evidence of process (i.e., drips and spatters of paint).

As he prepared the show, however, Marshall decided that «multiple fronts were needed to set forth a black aesthetic» and the exhibition then expanded into the museum's two main second floor galleries with paintings, sculpture, photographs, videos, installations, drawings and excerpts from the artist's cartoon series RYTHM MASTR, which originally began as a newspaper comic strip at the 1999 Carnegie International exhibitioAs he prepared the show, however, Marshall decided that «multiple fronts were needed to set forth a black aesthetic» and the exhibition then expanded into the museum's two main second floor galleries with paintings, sculpture, photographs, videos, installations, drawings and excerpts from the artist's cartoon series RYTHM MASTR, which originally began as a newspaper comic strip at the 1999 Carnegie International exhibitioas a newspaper comic strip at the 1999 Carnegie International exhibition.