Sentences with phrase «color pictures of her work»

Akunyili Crosby scatters color pictures of her work across a tabletop.

Not exact matches

«I know that everything Nina submits is something that she knows how to make, who the audience is and how she would ask us to market and sell it,» says Fox 2000 Pictures president Elizabeth Gabler, who worked with Jacobson on Diary of a Wimpy Kid and signed Color Force to a first - look deal this summer.

if i stop when it's still thin and the color is pale tan like one of those pictures you have posted before the finished product, (like maybe reduced to about 2 - 3 cups) do you think it would work for flan?

I tried taking pictures of each color on my lips, but for some reason my camera is refusing to work.

For example, instead of telling a child that he is «so smart,» a parent might commend the child for their hard work on a project and describe what they like the most about the child's efforts («I really like how you chose the colors for that picture!»).

Brooklyn City Councilman Carlos Menchaca (pictured) said he is endorsing Cynthia Nixon because of her support of «immigrants, people of color and the working class across our state.»

Eco-friendly plutonium spray paint is super-pigmented (think: rich, incredible colors), and it's easy to use it to add some personality to planters, upgrade picture frames, or turn an old mirror into a work of art.

try any of the great shades pictured above: makeup forever star power in hot pink nars exhibit a — this tomato red color is actually a blush but it works great as eyeshadow too!

This would mark the beginning of a long working relationship between Scorsese and Ballhaus that would include five additional collaborations — «The Color of Money» (1986), «The Last Temptation of Christ» (1988), «Goodfellas» (1990), «The Age of Innocence» (1993), «Gangs of New York» (2002), which earned him the last of his three Oscar nominations, and the Best Picture winner «The Departed» (2006).

To use in the classroom: - They can be part of a Spanish art unit - Used for substitute lesson plans - Extra credit activities - Expansion activities for the special ed student (of any spectrum)- Decorations to post on the wall for the parents» night - Well coloured pictures can be used to discuss what is seen, happening / happened, why something happened, why artist wanted to paint this, compare and contrast between artist's other works, classmates choice of colors...

Regardless of whether it's scribbling, or coloring the «best picture ever», coloring can be a way to de-stress, after a busy morning of school work, wind down, and calm down, after the stresses of a day at school or work.

After your students have drawn and colored pictures in the top of the cone templates, and you have assembled these projects together, you will have a unique display of your students» work that captures everyone's attention!

If your work is really modern and you don't have a ton of pictures all over your site, that's okay, put up some splashes of color.

Lesley Heller Workspace, New York, NY Claxons (four - person exhibition, curated by Walter Robinson), Haunch of Venison, New York, NY Grey Area, New York, NY The Queen's Feathers (one - person exhibition), John Tevis Gallery, Paris France 2011 Peacocks and Bottles (one - person exhibition) Organized by Nana Kipiani in conjunction with Artisterium, National Gallery of Georgia, Tbilisi, Georgia Forever and Never, One More Time (two - person exhibition), Season, Seattle, WA Color Theory, Storefront, Brooklyn, NY 2010 Birdbaths and Birdhouses (one person exhibition), Le Petit Versailles, New York, NY The Visible Vagina, Francis M. Naumann Fine Art & David Nolan Gallery, New York, NY 2009 Modern & Contemporary Ceramics, A.M. Richard Fine Art, Brooklyn, NY Bazvalon (one person exhibition), Rose Burlingham Living Room Gallery, New York, NY 2007 Momenta Art (one person exhibition), Brooklyn, NY French Kiss, organized by Rob Wynne, JGM Galerie, Paris The Demoiselles Revisited, Francis M. Naumann Fine Art, New York, NY NADA Art Fair, Miami, FL (Momenta Art booth) 2006 The Studio Visit, Exit Art, New York, NY 2005 Picture Window, (site specific, city organized), Baltimore, Maryland 2004 Hall of Portraits, Pinkard Gallery, Maryland College Institute of Art, Baltimore, MD 2003 The Recurrent, Haunting Ghost, Francis M. Naumann Fine Art, New York, NY Sleight of Hand, Salena Gallery, Brooklyn Campus, Long Island University, Brooklyn, NY 2002 Kismet, The Work Space, New York, NY 2001 Bad Touch, Lump gallery / projects, Raleigh, NC (also traveled to Keith Talent Gallery, London, Rose Museum, Brandeis University, Boston, Space (1026, Philidelphia & UIMA, Chicago) Beautiful You, curated by Larry Krone, Mark Pasek Gallery, New York, NY Your Humble Servant the Genius (two person exhibition with Rob Wynne), Rupert Goldsworthy Gallery, New York, NY Nijinsky, Rupert Goldsworthy Gallery, New York, NY 1999 The Fin - de-Siécle Salon, curated by J. A. Poisson, P.S. 122, New York, NY 1998 Re: Duchamp (organized by Mike Bidlo), Abraham Lubelski Gallery, New York, NY Bowie, Rupert Goldsworthy Gallery, New York, NY 1997 Galerie du Tableau, Marseille, France (one person exhibition) The Whole World in a Small Painting, Trans Hudson Gallery, New York, NY 1996 Cadmium Cathode, Sauce, Brooklyn, NY

Maher creates dynamic sculptures from concrete, aluminum, and resin; in his vibrant paintings, Dunlap divides the picture plane into interlocking geometries of shape and color; in video and sculptural works, Tenser considers autonomy and dependence.

He resisted the notion that his work was about purely formal ideas, merely studies in color, or that it was abstract; he was, he believed, making pictures of feelings, and states of mind and spirit.

Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works — his drip paintings — read as vast fields of built - up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural - sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces.

When viewing the work, the eye of the viewer can follow a color across the picture plane, he can see how the color moves and vibrates as it changes gradually in value, temperature, intensity or hue.

A work like the 2000 photograph I Don't Want to Get Over You perhaps best captures much of his artistic output: Tillmans manipulated a brilliantly lit snapshot of clouds over the sea, with the sun barely breaking through, and the resulting picture is streaked with verdant green ribbons of abstract color, adding a painterly qualities to a technical image.

Her works comprise a series of visual heuristics to nowhere, showing the viewer a picture plan filled with rich colors that simultaneously push into and out of each painting.

From this wide angle perspective Moran can zoom in to a particular passage or «sweet spot» of a shape or color that reveals itself as essential to the bigger picture, which can then be excised from its larger context and isolated, or distilled and combined with another work.

Working in a new studio space, she has created pictures at a larger scale than was previously possible for her and which allow her to further explore the expressive potential of color.

Unifying dreams fracture into the ghosts of slave - era nightmares, notably in the exacting prints of Kara Walker, who subverts the cut - out silhouettes of picture books with historic barbarities; and in the text - based work of Glenn Ligon, whose stencilled confessional I feel most colored when I am thrown against a sharp white background fades inexorably into blackness as it journeys down the page.

Ippolito continued to open up the picture plane in his oil on linen 1980s works with the soft diffusions of color and suggestive forms of «Paesaggio» (1980), the floating irregular shapes of «One June Morning» (1988) in a blue / lavender mist, the opposing edges of shapes hanging on within the blue field of «Small Painting» (1982), and the floating orange - on - orange diffusions suspended in «Orange» (1982), all pieces which exemplify Ippolito's belief in «color as light.»

The critic Leo Steinberg, a great admirer of de Kooning's work, was deeply upset when he first heard about Erased de Kooning Drawing; the great color - field painter Barnett Newman is said to have remarked, on seeing Rauschenberg's all - white pictures, «What's the matter with him?

Even though Kahn has been working within a fairly narrow choice of subject matter — forests, trees, barns, lakes, fields, skies — he seems to think that this is the least important part of the picture, or at least secondary to color.

Working alongside Color Field painters such as Kenneth Noland and Thomas Downing, Gilliam elaborated upon Color Field processes and aesthetics while subverting Greenbergian notions of the «integrity of the picture plane,» and disrupting the boundaries between the visual world of painting and the tangible world outside it.

It makes no difference whether we are face - to - face with one of his large format images, in which he allows the pigments dissolved in epoxy resin to run slowly down the picture carriers in satiated, glistening vertical stripes; or whether we study those works in which small drilled craters disclose many apparently archeological layers of paint, or find ourselves in one of his site - specific, all - over paintings that cover the walls, floors and ceilings, their iridescent stripes of color subduing entire architectures and permanently altering the viewer's perception.

The first Berkeley pictures, such as Berkeley # 4 (1953) are, like the previous works done while still in Albuquerque, cut by horizontal lines or bands of color suggesting a sliver of sky above a hilly landscape.

An artist of poetic eloquence — his work fills a museum in Segovia — Vicente painted almost until his death at age 97 in Bridgehampton, New York, creating lyrical abstractions like «Color Luz» (pictured left, 1999) and «Untitled» (pictured right, 1999).

Klee's attention to tone and lyrical use of color is certainly felt in works such as May Picture (1925) and Variations (1927) ², while Abstract Trio hints at his three favorite composers, Bach, Beethoven and Mozart.

Following ten years of work primarily in painting, Posenenske moved from two dimensions into three with wall based works of industrially sprayed and colored aluminum that she titled «Sculptural Pictures.»

He has held numerous solo institutional exhibitions around the world, including Florida Living at the SCAD Museum of Art, Savannah (2017), TIME, Hernan Bas: a queer and curious cabinet at the Bass Museum of Art, Miami (2013), The Other Side at the Kunstverein Hannover (2012), Hernan Bas: works from the Rubell Family Collection, Miami (2007) and Brooklyn Museum of Art (2009), and has been included in a number of important group exhibitions, including A Sum of its Parts, at Polk Museum of Art (2016), Tracing Shadows, at PLATEAU, Samsung Museum of Art (2015), Aquatopia, The Imaginary of the Ocean Deep, at Nottingham Contemporary and Tate St. Ives (2013), Nightfall, MODEM Centre for Contemporary Art, Hungary, travelling to Galerie Rudolfinum, Prague (2012), Nothing in the World But Youth, Turner Contemporary, Margate (2011), Busan Biennale, Korea (2008), Like Color in Pictures, Aspen Art Museum (2007), Ideal Worlds - New Romanticism in Contemporary Art, Schirn Kunsthalle, Frankfurt (2005), Whitney Biennial (2004), and The Museum of Contemporary Art, North Miami (2002).

Thomas in her photograph of an image of a window, Moments of Place IV, explores the depth and construction of space within the picture frame while masterfully considering color and form and, in depicting an architectural detail and through the work's placement in the gallery, draws attention to spacial relationships.

She creates a personal and contemporary fiction within her works, bringing to light issues of race and representation throughout the history of traditional figurative painting: «My work is a form of tribute, analysis and intervention: tribute out of sincere admiration for the figurative tradition; analysis, by making something vast,» the role of race in the history of figurative painting «comprehensible to both myself and to my viewers; and intervention, by positioning a woman - of - color as primary picture - maker, in whose hands the figurative tradition is refashioned.»

From 1909 to 1913 many experimental works in the search for this «pure art» had been created by a number of artists: Francis Picabia painted Caoutchouc, 1909, [20] The Spring, 1912, [21] Dances at the Spring [22] and The Procession, Seville, 1912; [23] Wassily Kandinsky painted Untitled (First Abstract Watercolor), 1910, [24] Improvisation 21A, the Impression series, and Picture with a Circle (1911); [25] František Kupka had painted the Orphist works, Discs of Newton (Study for Fugue in Two Colors), 1912 [26] and Amorpha, Fugue en deux couleurs (Fugue in Two Colors), 1912; Robert Delaunay painted a series entitled Simultaneous Windows and Formes Circulaires, Soleil n ° 2 (1912 — 13); [27] Léopold Survage created Colored Rhythm (Study for the film), 1913; [28] Piet Mondrian, painted Tableau No. 1 and Composition No. 11, 1913.

Some work included here is based solely on the strange streaky colors that appeared during the development process — a ghostly range of blues and grays that shifted and pulsed as a picture bled through.

Albers's precise application of color also created plays of space and depth, as the planar colored shapes that make up the majority of his works appear to either recede into or protrude out of the picture plane.

In the mid-1970s on, the artist was dazzled with a gestural use of color on layered plywood boards or metal plates, while from 1975 to date he has been working on overlapping colored rectangles called Mennigebilder («Red Lead Pictures»).

Namely, the works were usually guided by the construction of pictorial space using expressive brush marks and lush colors, almost always painted on the backs of old picture frames.

In «Double Bill», a 2012 series of large inkjet prints, [19] Baldessari paired the work of two selected artists (such as Giovanni di Paolo with David Hockney, or Fernand Léger with Max Ernst) on a single canvas, further altering the appropriated picture plane by overlaying his own hand - painted color additions.

Just as her early work played abstraction and figuration off one another, in her diagram works the classic antinomies of picture making — color and line, figure and ground, painting and drawing — rub up against one another, with neither ever being able to dominate the other.

1923 January 29: Stieglitz opens Alfred Stieglitz Presents One Hundred Pictures: Oils, Water - colors, Pastels, Drawings, by Georgia O'Keeffe, American, an exhibition of over 100 works at The Anderson Galleries.

Ground colors at a picture's periphery and a tracery of open rectangles running over areas where canvas tooth shows through probably indicate decisions made early and late in the work's making.

His first stroke of color is very important since it may be visible in the final version of the picture, and so, for Fruit Bowl, No. 1, Hofmann spent considerable time studying the still - life before picking up his brush... «A work of art is finished from the point of view of the artist,» says Hofmann, «when feeling and perception have resulted in a spiritual synthesis.»»

Often when I start a picture over, I will obliterate the painting underneath with a dark glaze of red or green - not related at all to a subject - or paint a live coat of pale color to work out of.

«Her decision to be an abstractionist was in itself a major social - political statement — that a woman of color can be part of the larger picture of American painting,» says Rosenfeld, whose Chelsea gallery had a solo exhibition of Thomas's work last spring.

Other significant additions include key works by artists from the 1970s and 1980s who were early practitioners of color photography, such as a group of 27 photographs by William Eggleston, along with pictures by Jo Ann Callis, William Christenberry, Jan Groover, and Barbara Kasten.

In these works he used the technique of soak - staining, applying thinned paint onto the canvas to create abstract fields of color, horizontal cloud - like rectangles, which pervade the picture space with their lyrical presence.

They are works of such intensely savage color that the artist was included by critics among «les Fauves» — the wild beasts — of the period, and they are pictures as ferocious today as they were 100 years ago.