Sentences with phrase «color and line build»

I begin my artwork in abstraction, very spontaneously, letting layers of color and line build up; catching a moment in time, I reference the figure and landscape.

Not exact matches

The restaurant will undergo an extensive redesign that shows off the original seventeenth century features of the building, clean lines of marble and glass, and the natural hues of leather and traditional wood paneling will be complimented by a palette of brightly colored velvets.

This helps build coloring skills and line awareness for handwriting.

iPride - iPride's mission is to build, cultivate and affirm families and communities across culture and color lines.

There are many colors and styles to select from, and she has even developed a yoga pants line with built - in protection.

When there isn't enough estrogen to build the uterine lining, you inevitably end up with periods that are very light, pinkish in color (rather than a vibrant red color) and too short.

The felt tip applicator is nice and thin so you can get a precise line, but you can't build up the color.

I love the way to draw lines and build the color opacity.

Color Sensational Shaping Lip Liner features a built - in sharpener to perfectly define, line and fill your lips

what with the colors matching the flowers and the pattern mimicking the lines of the buildings in the background.

-- it's practically built to be ignored on cable for decades to come while you putter around your house with your phone in hand and your mind entirely elsewhere — at least until you notice some bright color combination on Melissa McCarthy and chuckle at a line reading or two before instanteously losing interest again.

FEATURES Easily add, snap, copy, and rearrange cubes Assorted colors Text fields and pens for annotations and labels Built - in graph, number line, place value, and tens frame backgrounds Common Core alignment Includes 1 Single - User, 1 year license MATH TOPICS Counting Representing numbers Patterns Place value Adding and subtracting Multiplying and dividing Graphing Parts of ten

Manipulatives is this bundle: Base Ten Blocks Cuisenaire Rods Fraction Circles Fraction Tiles Linking Cubes Rekenreks Place Value Chips Algebra Tiles Color Tiles Two - Color Counters Pattern Blocks Geoboards Number Line Hundred Board Features All - in - one bundle with 14 virtual manipulatives Web - based delivery allows for easy implementation - no downloads or special software Colors match your favorite ETA hand2mind manipulatives Built - in mats such as ten - frames, number lines, place value chars, and graphs Includes 1 - year license, for up to 100 teacher licenses, and up to 3,000 student licenses * bundle must be used in 1 building

FEATURES Easily add, snap, copy, and rearrange cubes Assorted colors Text fields and pens for annotations and labels Built - in graph, number line, place value, and tens frame backgrounds Common Core alignment Includes 1 year license MATH TOPICS Counting Representing numbers Patterns Place value Adding and subtracting Multiplying and dividing Graphing Parts of ten

Design simplicity, efficient use, the choice of millions of users: * Multiple - line stacks, hundreds of thousands of novel / newspaper / magazines free read (Note: All stacks are built by third parties) * depth optimization of novel to read txt * visual experience set, all the background color to support several real - time visibility * Page mode * Smart layout, to create the most comfortable reading experience of paper flip effect * real * support for voice input, attack with half times * strong local book file Find (supports wildcards to retrieve and import), a full range of book content search (support regular expression) * free copy like text, and can be sent to microblogging — Format: TXT, HTML, EPUB, UMD, OPDS Official Website: http://anyview.net official micro-Bo: http://t.sina.com.cn/3637250 official QQ group: 161 462 668 readers, e-books

The hardware in the Kobo product line has kept pace with Kindle and Nook, with Kobo adding built - in lighting to a model this year, and even launching a reading - focused color tablet (the Kobo Arc, soon to appear).

Cobbled alleys and streets that invite leisurely strolling are lined with tall, elegant, pastel - colored buildings, two imposing 16th - century fortresses standing guard above them all.

It's a worldview that some might say gracefully colors Ismail's own relationship with Adriel Wallick, herself an independent game developer and organizer of Train Jam, an event in which creators build short games while traveling the distance from Chicago to San Francisco on an Amtrak line.

A space is made; like the white line that is made when you combine complementary colors or when opposite magnets resist each other... I want to build a back and forth that creates a feeling, and then I stop.»

Building on the rich tradition of geometric abstraction, three one - person exhibitions take the visual language of line, form, and color in compelling directions.

The result was an explosion of otherworldly biomorphic and architectural ink washes that evoke images of tree branches, piers and unfinished buildings, and more recently, their counterpoint, huge paintings with big thick tactile lines of color that sweep across the canvas like a roller coaster.

The sweep and complexity of Mitchell's painterly language is built on an armature of drawing, whether it's a feverish tangle of colored pencil lines or a series of loosely demarcated partitions dancing across a seven - panel pastel.

Designed by the Norwegian firm Snøhetta, the 150,000 - square - foot building has a distinct glass facade comprising numerous hexagonal panels, a recurring geometric motif that shaped the theme of «Evolving Geometries: Line, Form, and Color,» curated by Margo Crutchfield.

The resulting image places the viewer within one of the artist's unique fantastical landscapes built through careful placement of color, texture, and line.

Building on the success of last year's inaugural L.A. Summer Residency, the line - up features specialized programs for emerging curators, writers of color, fashion designers, L.A. art enthusiasts, and more.

Peters creates atmospheric space by building her own encompassing universe of form, line and color.

1993 Les Amis des Musées de Verviers: Aspects de la mouvance construite internationale, Fondation Pro Mesures Art International, Verviers, Belgium (catalogue) Yale Collects Yale, Yale University Art Gallery, New Haven, CT Skowhegan 93, Colby College Museum of Art, Waterville, ME (booklet) Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston, MA Artists» Photographs: A Private View, Blum Helman Gallery, New York Live in Your Head, Hochschule für Angewandte Kunst and Galerie Metropol, Vienna (curated by Robert Nickas, catalogue) The Tradition of Geometric Abstraction in American Art 1930 — 1990, Whitney Museum of American Art, New York 15th Anniversary Group Exhibition, Arthur Roger Gallery, New Orleans, LA Drawing the Line Against AIDS, AmFAR Art Against AIDS, Venice Biennale, Venice Looking at Collecting Today, Chateau de Tanlay, Burgundy, France Legend In My Living Room, Rhona Hoffman Gallery, New York I Love You More than My Own Death, Venice Biennale, Venice Italia - America, L'Astrazione Ridefinita, Galleria Nazionale d'Arte Moderna, San Marino, Italy (curated by Demetrio Paparoni, catalogue) New York Painters, Sammlung Goetz, Munich (catalogue) Legend in My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, Paris

Here, though, the slow, careful build - up of shape, line, and color is revealed, making his last canvas all the more instructive for painters.

Color, pattern and line become the building blocks of his language.

Color and line, contour and form — the building blocks of pictorial construction — were isolated to the point that they seemed to function independently, no longer constituents of a picture but whole entities in themselves.3

Exploring techniques such as working additively, reductively, and often quite physically in pulp to build line, color and form, these artists build on the rich history of abstraction, allowing the processes unique to handmade paper to push boundaries in their work.

Hinging panels build a subtle environment and their surfaces become a topography of kinesthetic and rhythmic intelligence — line becomes thread, embedded or removed; surface, color, and density all partially reveal their encrypted touch.

Lines, color blocks, geometric shapes, and pools of paint at once fragment and build up the overarching scenes, creating kaleidoscope - like effects that amplify the sense of motion and heighten the sensory impact of the work.

The multiplicity of fine lines builds up to create a vast section that is densely colored and which — with a clear, curving demarcation between the blue ink and the horizon of the canvas — calls to mind a mountaintop.

I build on these oddly similar properties by merging disconcerting color, abutments and abrupt juxtapositions to fabricate work where reason is suspended and beauty is suspect; paint is both hard and lush and line defines and deflates.

«Amy Sillman: one lump or two introduces audiences to Sillman's exceptional body of work and demonstrates that the basic building blocks of 20th - century painting are of continued interest to artists today: color, line, medium - specificity, abstraction, and the possibility of communicating in an exclusively visual manner.»

CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University of Tennessee, Murray Territory of Abstraction, Pentimenti Gallery, Philadelphia, PA Out of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum of Art, Greensboro, NC (brochure) Islands of Order in a Sea of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating Images / General Public, Berlin, DE; Fluctuating Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they arcolor, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they arColor, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.

His development of this vocabulary, building on the legacy of Picasso, but introducing brilliant color and a refined use of shape and line, was enormously influential in Europe and America.»

THE IMPRESSIONIST LINE: FROM DEGAS TO TOULOUSE - LAUTREC When we think of Impressionism we may picture sun - dappled paintings, but drawings and prints, built on line more than color, convey a grittier energy and aestheLINE: FROM DEGAS TO TOULOUSE - LAUTREC When we think of Impressionism we may picture sun - dappled paintings, but drawings and prints, built on line more than color, convey a grittier energy and aestheline more than color, convey a grittier energy and aesthetic.

She used strident, luminescent neon colors; her themes were frequently built on colored grids of dots in line with the Benday dots encountered in Pop Art; she applied the paint very evenly, using spray cans for example, and often relied on vinyl or other plastic foils.

Inspired by visual obstructions in the built environment - perforated cinder - block walls, lattices, and chain - link fences - Arntzen's canvases sometimes allude to atmospheric depth through a masterful use of color relationships, only to be negated by painterly lines weaving through the rendered volumes, disrupting the viewer's suspension of disbelief in the imagined space.

Contributed by Jonathan Stevenson / Kelly Reichardt's unostentatiously virtuosic Certain Women, based on Maile Meloy's short stories, depicts hardscrabble Montana in angular austerity, with the simple lines of mountains and fences and utilitarian buildings, in the subdued colors of impending snow, through iterations of circumstances that illuminate foibles and strengths.

2017 Desert X Biennial, Coachella Valley, CA 2016 SITElines.2016: New Perspectives on Art of the Americas, SITE Santa Fe, New Mexico NO COMMISSION, Bronx, NY Recent Acquisition, exhibited as part of Beyond Limits, Museum of Fine Arts, Boston, MA Recent Acquisition, exhibited as part of Native Artists of North America, Newark Museum of Art, Newark, NJ Kindred Beasts: The Everson Biennial, Everson Museum of Art, Syracuse, New York Convene, Nerman Museum of Contemporary Art, Overland Park, Kansas March Madness, Fort Gansevoort, New York, New York WORD, Hudson Valley Center for Contemporary Art, Peekskill, New York New Geometries, Fleisher / Ollman, Philadelphia Perfect Day, Roberts and Tilton, California 2015 - 6 Affinity Atlas, The Tang Museum, Skidmore College, Saratoga Springs, New York Greater New York, MoMA PS1, New York, New York An Evening Redness in the West, IAIA Museum of Contemporary Native Arts (MoCNA), Santa Fe, New Mexico Between History and Body, The 8th Floor, Shelley and Donald Rubin Foundation, New York, New York P3, Prospect New Orleans, New Orleans, Louisiana 2015 Piece by Piece, Building a Collection, Kemper Museum of Contemporary Art, Kansas City, Missouri Gray Would Be The Color if I Had a Heart, MARC STRAUS, New York, NY Geometries of Difference: New Approaches to Ornament and Abstraction, Samuel Dorsky Museum of Art, New Paltz, New York 2014 - 5 Beautiful Games: American Indian Sport and Art, Heard Museum, Phoenix, Arizona 2014 Xigue - Xigue, MARC STRAUS, New York, New York Contemporary American Indian Art, The Nerman Museum Collection, Overland Park, Kansas 2013 Fiction / Non-Fiction, Esker Foundation, Calgary, Canada On Deck, MARC STRAUS, New York, New York Sakahan: International Indigenous Art, National Gallery Canada, Ottowa, Ontario Outside the Lines, Contemporary Art Museum Houston, Houston, Texas Hotbox Forever, Steven Wolf, San Francisco, California Totem, Aysa Geisberg Gallery, New York, New York Group Show, Samson, Boston, Massachusetts 2012 - 4 Changing Hands 3, Museum of Art and Design, New York, New York; Memorial Art Gallery, Rochester, New York; McMichael Canadian Art Collection, Kleinburg, Ontario, Chazen Museum of Art, University of Wisconsin, Madison; Museum of Contemporary Native Arts, Santa Fe, New Mexico, University of Michigan Museum of Art, Ann Arbor, Michigan 2012 Shapeshifting, Peabody Essex Museum, Salem, Massachusetts E-Vapor-8, 319 Scholes, Brooklyn, New York, organized by Francesca Gavin Peekskill Project V, Hudson Valley Center for Contemporary Art, Peekskill, New York 2011 Recent Acquisitions, Museum of Fine Arts, Linde Wing for Contemporary Art, Boston, Massachusetts Close Encounters, Plug - In Institute of Contemporary Art, Winnipeg, Canada Recent Acquisitions, Denver Art Museum, Denver, Colorado Anthony Greaney x Dan Graham x Samson, Cottage Home Gallery, Los Angeles, California An Exchange with Sol LeWitt, Cabinet Exhibitions and Mass MoCA, Brooklyn.

The central component of these busy, lively pieces is the discordance between the prepossessing gaiety of their bright colors and jangled line, on one hand, and the more submerged gruesomeness of the body parts and distressed buildings actually depicted, on the other.

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.

Incorporating drawn lines with loose washes and layers, she pushes color relationships and builds surprising perspectives.

By amplifying and radiating color outward, into and around the viewer, I can build atmospheres, using color, line, and form in a way that goes beyond painting's two - dimensional limitations.»

Today, Solarcentury launched SunStation — a fully building integrated photovoltaic (BIPV) system that's black in color, and sits flush with the line of your roof.

The small metal boxes (in a variety of colors like brown, black, red, and white) found attached to the walls of public buildings all over the United States are called Knox Boxes (though manufactured by different companies, the Knox company produces the bulk of them) and are designed to give emergency responders access to building keys (or functions like disabling power or gas lines, or turning off sprinkler systems in case of a false alarm) to aid in rapid entry in the event of an emergency.

The latest, the Moto X Pure Edition, continues that trend, along with the line's customization features, giving users a wide array of color options, and a few new build materials to boot.