Sentences with phrase «consider painting your space»

If not, consider painting your space white.

Not exact matches

If you're lucky enough to have a child - free zone, and a formal dining area in your home; consider furnishing it with pieces that infuse some luxury into the space (especially as little paint - covered hands won't be touching them).

When you're ready to begin your beachy bedroom makeover, consider giving the space a fresh coat of white paint to kick things off.

I have been considering the paint color scheme, since while the room is currently my office, I figure that in a few years, when my kids hit their tween years, they will no longer want to share a bedroom, and I will have to give up that space.

Energize your small kitchen with a coat of fresh paint to the walls and cabinets, and consider soft neutrals or bold color combinations that will make your space seem larger and reflect your design style.

Robin Greenwood considers the dual (and competing) roles of paint as both a material and as a «designator and articulator of form and space.»

Painting in what is now considered a signature style characterized by flattened planes of color, shallow pictorial space, and lean, reductive but acutely descriptive lines, Katz sought to convey the appearance of things as they are both felt and perceived in the «present tense,» the now.

Precise compositions of squares and a considered rhythm of colors beckon the viewer past the painting's surface and into a space that grows more and more palpable.

Applying to painting the methodologies of systematic value control that one would use in the dark room, such as dodging and burning, the conversation will consider the potential to access the space behind or below a surface, real or imagined.

In 1974, in reference to a New York gallery show by Judy Rifka, Jeremy Gilbert - Rolfe wrote that the artist addressed «the question most crucial to painting in general at the present time: the question as to how far the — currently compromised — abstract «depth» of pictorial space can be newly considered — retrieved — through attention to the material basis of the conventions on which that experience of «depth» relies.»

Moreover, if one considers the alternate history of Schapiro's having continued to work in this vein of geometric abstraction, given the typical narratives of the time, her career would likely have plateaued in relation to a colleague like Held, in part because he was a male artist, with all the privileges that brought, and in part because he was, in that mode, perhaps a stronger artist: as impressive as «Byzantium» is, it can't compete with the impact of Held's paintings as paintings, their literal physicality — the extra thick stretchers and larger size and the paint handling, which manages to be worked even when flat — and their composition, which bends vision into sci - fi space but also retains the power of the overall ground.

Mika Tajima employs sculpture, painting, video, music, and performance, often drawing on contradictions in modernist design and architecture to consider how the performing subject (e. g., speaker, dancer, designer, factory worker, musician, filmmaker) is constructed in spaces in which material objects outline action and engagement.

Lines, colors, shapes are arranged in space and while at first the composition doesn't seem to stand out in any specific way, what you're in fact looking at is what art historians consider to be the very first non-objective or abstract painting of the 20th century.

Their relationships to social, political and philosophical expressions of feminism are as diverse as their work in sculpture, painting, drawing, video, installation, collage, assemblage and the wearable — yet all six directly consider the literal and allegorical ways in which the female body occupies both physical and semantic space in the modern world.

(«Hopper bets everything on composition, which, in his work, is almost as tautly considered as in a Mondrian,» Schjeldahl wrote in his 2007 review, in which he also advised viewers to sketch Hopper's paintings in order to better grasp them: «Just get the main shapes, including those of empty space, and how they nest together in the pictorial rectangle.»)

Characterized by a continuously expanding investigation into painting, her practice considers a multiplanar site for constructed light and shifting space.

As I gaze up into the top third of the painting, I can't help considering the distinctive ceiling of the High Museum, with its evenly spaced circular apertures to the sky.

In her grid - like paintings, French - Syrian artist Farah Atassi continues to consider space through an exploration of decorative motifs and architectural models.

If Marshall's work considers the erasures of history, Casteel's is very much set in the present tense (though her paintings are less a literal transcription of real life than they may seem: «I like to think of them as being able to wobble in and out of these flat and hyperrealistic spaces»).

The religious legal controversy raised by placing wall paintings in a traditionally iconoclastic space was resolved by the verdict of Rabbi Moshe Feinstein, then considered to be the world's leading Talmudic scholar, who declared the paintings to be in conformity with the law.

Innes has considered an installation in response to the Jean - Michel Wilmotte - designed gallery space, that includes three site - specific wall paintings, watercolours and a major new canvas work.

In also considering the historical implications of Caravaggio's work on the creation of space in painting, Stella has turned this space inside out, made it of solids, and dematerialized it again.

Intended to act in the space between knowledge and emotion, his dream - like oil paintings consider the present moment as part of a larger, intuited (perhaps mythic) history.

Mika Tajima employs sculpture, painting, video, music, and performance, often drawing on contradictions in modernist design and architecture to consider how the performing subject (e. g. speaker, factory worker, musician, filmmaker) is constructed in spaces in which material objects outline action and engagement.

In this exhibition, Morris creates a site - specific wall painting that explores the structures and boundaries of abstraction, considering the possibilities of paint within an architectural space.

Or consider the four paintings presented in the exhibition from the Above the Earth series, created between 1953 and 1956, which each depict a portion of a circle in space (presumably the Earth).

Every aspect of a painting's materiality is considered, including the stretchers, how the paint is applied and its thickness, as well as its presentation in a space.

Notably, 1953 was also a pivotal year for de Kooning, who finally found staunch critical support and solid financial success following the exhibition of paintings and drawings from his Woman series at the Janis Gallery that spring.22 By then, Rauschenberg had known de Kooning for a year or more and had seen him on occasion, often through their mutual friend Jack Tworkov (1900 — 1982), who sublet studio space from de Kooning.23 Even as other details of the Erased de Kooning Drawing story changed, Rauschenberg always insisted that he chose de Kooning out of deep respect for his work and because there was no question that a drawing of his would be considered art — and this was more true than ever in 1953.24 Critic Leo Steinberg later reported asking Rauschenberg whether he would have erased a drawing by Rembrandt, to which he replied no.

Consider Jenny Saville's new exhibition of gigantic paintings at Gagosian's Madison Avenue space.

For example, another Poons title for a painting of a different order is «The Flying Blue Cat» (2011), which may reveal to viewers a region in the upper left space of the composition that illuminates the surface in ways previously not considered.)

Though linear uniformity draws attention to the painting's actual space, as the hazy pigment gently fades away the artist invites viewers to consider what comes after the end of the canvas as well.

His 1964 essay «Specific Objects» is considered a manifesto for Minimalist sculpture, advocating artists whose works inhabited the actual space of the viewer rather than the illusionistic space of traditional painting and sculpture.

Artists of all disciplines — painting, photography, sculpture, video, installation, new media — are considered for fully - funded studio space to produce new work and make use of resources needed to support their creative practice.

He explains, «When planning my first show of a series of so - called black paintings, it was important for me to consider the installation, the space, and the mode in which they were produced.

These paintings are about the freedom of consideration — the freedom of thought and of considering difference in space and in time.»

Katz's monumental landscape paintings are executed in what is now considered a signature style characterized by flattened planes of color, shallow pictorial space, and lean, reductive but acutely descriptive lines.

The vertical lines on this work created additional zones within which to consider both the application of paint and the meaning of color, to reconsider the meaning of home and the spaces they inhabit.

We are forced to return to the work as a sculpture, to consider both interior and exterior space, finding our best views of the painted surfaces from the side.

The exhibition, which includes new paintings and sculptures, creates a poetic dialogue with the surrounding space and invites viewers to consider the connections between the past, present and future.

New Directions in the Art of the Moving Image, Smithsonian Museum of American Art, Washington D.C., US Images of the Mind, Deutsches Hygiene - Museum, Dresden, DE The Art of Deceleration, Kunstmuseum Wolfsburg, DE Space Invaders, Nikolaj Kunsthal, Copenhagen, DK Jihlava Documentary Film Festival, Jihlava, CZ Celebrazione Vasariane, Firenze Arti Visive, Florence, IT Ensemble 20/21, Auditorio Nacional de Música, Madrid, ES MMK 1991 - 2011: 20 Years of the Contemporary, MMK, Frankfurt, DE Oslo Chamber Music Festival 2011 - Gamle Logen, Oslo, NO Pino Pascali: Return to Venice / Apulia Contemporary Art, Palazzo Bianchi Michiel, Venice, IT The Missing Peace: Artists Consider the Dalai Lama, San Antonio Museum of Art, Texas, US Portraits de la Pensée, Palais des Beaux - Arts de Lille, FR Paradise Lost, Istanbul Museum of Modern Art, TR The Quintet of the Unseen, Blain Southern London, UK art / tapes / 22 a Santa Teresa (1972 - 76), Forno San Ferdinando, Follonica, IT Tout ouïe, Sans Canal Fixe, Tours, FR 2011 Images and Views of Alternative Cinema, Theatro Ena, Nicosia, CY New contemporary galleries featuring the John Kaldor Family Collection, Art Gallery New South Wales, Sydney, AU The Promised Land, Staatliche Kunstsmmlungen Dresden, DE Don't Look Now, Kunstmuseum Bern, CH Figuratively Speaking: A Survey of the Human Form, Bellagio Gallery, Las Vegas, US Happy Tech: machines with a human face, Palazo Re Enzo (1/29 -2 / 13) & La Triennale / Bovisa, Milan, IT La Candela Festival 2011, Valls, ES The Unbearable Lightness of Being, Yvon Lambert Gallery, Paris, FR San Sebastian, una iconografia comtemporánea, Kubo - Kutxa, Donostia - San Sebastian, ES When Painting Moves... Something Must Be Rotten, Stenerson Museum, Oslo, NO Knock on wood: Tales from the forest, Virserums Konsthall, SE Space, Foundazione MAXXI, Rome, IT Lust and Vice: The Seven Deadly Sins from Dürer to Nauman, Zentrum Paul Klee, Bern, CH When Eve Meets Adam, Museum of Fine Arts, Strasbourg, FR A Million and One Days, Lithuanian National Gallery of Art, Vilnius, LT The Missing Peace: Artists Consider the Dalai Lama, Nobel Museum, Stockholm, SE Tong, Haeinsa Temple, Chiin - ri, KR Esplanade — The Recital Studio, SG Video, An Art, A History 1965 - 2010: A Selection from the Centre Pompidou and Singapore Art Museum Collections, SG Déserts (1994), Tokyo Symphony Orchestra, Suntory Hall, Tokyo, JP Shan Shui, Beijing Center for the Arts, CN Environmental Day, ikono.tv / MELD, Television Broadcast, Arabsat: Menasa Region, Etisalat, AE Selected works from the Centre Pompidou's New Media Collection, Herzliya Museum of Contemporary Art, IL

The spaces's new fall look may make immediate comparisons between Still's approach to drawing and painting difficult to consider, but the museum is clearly attempting to focus much - needed attention on a historically overlooked aspect of a widely renowned figure of Abstract Expressionism.

A City Report from Cape Town looks at both new institutions and grassroots arts spaces, while David Geers considers the new wave of figurative painting in recent New York shows.

The choice of works is very deliberate with the exhibition broken down into seven themes: Beauty, Power and Space, which looks at each artist's engagement with the sublime, a theme central to English Romantic art but which survived through the modernist movement and is a key feature of Twombly's paintings; Atmosphere, which considers the ways in which the three artists paint land and sea through a filter of atmospheric conditions; Naught so Sweet as Melancholy, named after a phrase in Robert Burton's Anatomy of Melancholy, where the theme of loss and memorialisation are central concerns; The Seasons which reflects upon the passage of time; Fire and Water where all three artists evince the power of the elements; The Vital Force which brings together works of a sensual or erotic nature; and finally A Floating World where each artist contemplates mortality and external events that impact on their lives.

Currently installed through May 1, 2016 at Christopher Stout Gallery in the Bushwick neighborhood of Brooklyn, Pundyk considers the six exhibited paintings on unfinished canvas as a site - specific installation that becomes activated through performance and all interactions inside the gallery space.

The resulting event, ad absurdum, considered a possibility of a space between literature, painting and theater, in which secular skepticism can momentarily dissolve into belief.

Angelina Gualdoni's painting creates tension through layers of paint and considered negative spaces.

The BMW headquarters themselves are also considered, as the space, for which Richter created the paintings.

(7) He considered drawing a critical precursor to painting, yet his emphasis on color, rather than perspective, as a determiner of space within a picture plane, lay at the heart of his ideas about art.

There, Stella worked on his black paintings in this studio, and when he wasn't using the space, Andre alternated between painting and sculpting until Stella urged him to concentrate on sculpture, spurring Andre to make what he considered his «first mature works.»

If we can consider the detonation of the atomic bomb as having unleashed the potential in painting for the frenzied energy of a Pollock, then the exploration of outer space paralleled Fontana's piercing the canvas to explore what he called «fourth - dimensional space».