Sentences with phrase «described as the canvas»

Design space is best described as the canvas that the designer can paint on.

Not exact matches

Another independent film producer «is using Buffalo as his canvas,» said Buffalo Niagara Film Commissioner Tim Clark in describing the work of filmmaker Mac Cappuccino.

Making its first debut in 1976, the Gola ladies «Coaster trainer was described as the superior quality, canvas, sports and leisure shoe.

The canvas weather protection is best described as a bikini top.

I will confess that I spent a rather large portion of the piece offering context for the initiated, explaining to outsiders the concept of «infinite canvas,» as described by Scott McCloud (who, incidentally, was kind enough to discuss his thoughts on the device in the lead up to the iPad's release).

Dmitri describes the work as a «narrative about creatures, animals, flowers, mycology, biology and even science itself... the canvas becomes a story weaving a tapestry about ecology.»

Joffe has described the absorbing, as well as the highly physical experience of the work's making, the thickly applied pastel accumulating with a luminous purity that is markedly different from the act of painting and the ways in which oil behaves on canvas or board.

His touch becomes increasingly painterly and gratifyingly so: squiggles, blobs, and what are described as «hot dogs» array Close's canvases.

Shields worked comfortably in a range of material approaches and mediums, and his omnivorous eye and deliberate touch encompassed works and techniques that included unique paper pieces and canvases, editioned works, and jewelry (which Shields described as «wearable art»), all of which are featured in this exhibition.

The work was celebrated at the time for the sheer velocity of movement with which the eye roves the canvas, pointing to de Kooning's interest in creating simultaneous foci, what art historian John Elderfield describes as «multiple centers of interest, and therefore a continual distraction, of vision being shuttled about the surface, so that it may rest anywhere but can settle nowhere» (J. Elderfield, «Space to Paint,» de Kooning: a Retrospective, Museum of Modern Art, New York, 2011, p. 25).

The two share a dedication to the diversity of New York City and, in his introduction to the fully illustrated catalog, he describes her as an essayist on canvas.

In them all, abstracted rhythms and undulating strokes describe a fluid network of lambent color, such as we see in Untitled III, all spread over large - scale canvases generally measuring 80 x 70 or 80 x 77.

As described Phillips, Bradford «cites entire sections of the U.S. constitution over four canvases that form his Constitution series from 2013.

Over the course of a thirty - year career Doug Argue's paintings are best described as palimpsests — layers of radiant brushwork and scrims of crisp stenciled letters envelope the entire canvas to suggest the passage of time, light, motion, and how the past informs the present.

While she describes herself as a painter and has won international recognition for her abstract canvases embroidered with erotic motifs, Ghada Amer is a multimedia artist whose entire body of work is infused with the same ideological and aesthetic concerns.

His recent solo exhibitions at the Museum of Contemporary Native Arts in Santa Fe, New Mexico (2012) and at Urban Shaman Contemporary Aboriginal Art in Winnipeg, Manitoba (2013) highlighted his most recent work — a striking series of small works on paper and panels and an impressive collection of large scale paintings on canvas — work he describes as «rooted in Indigenous abstraction and Modernist aesthetics».

Referencing Jackson Pollock's notion of being inside or outside of the painting, Zacharias describes his own process as intuiting the canvas and composition until it looks superficially good, at which point he stops and breaks away to look back from the outside.

Still explains the «ascending verticality» and «aspirational thrust» of his canvases throughout his career as taking root in his early landscape painting which he described as «records of air and light, yet always inevitably with the rising forms or the vertical necessity of life dominating the horizon... And so was born and became intrinsic this elemental characteristic on my life and my work.»

Displayed to great effect in SJMA's expansive Central Skylight Gallery are Lee's recent very large ballpoint pen on canvas pieces that can only be described as epic both in Lee's pursuit of their creation and their impact on the viewer.

This solo will put somewhat of a new direction from the street collagist on display described as «Abstract Expressionism meets Pop - Art» in pieces similar to «giant petri dishes where his text and pop iconography, aka germs, take over the canvas.»

Dana Miller, the show's curator, describes the effect as being less like paint on canvas than «like cuts in space,» an innovation Ms. Herrera shares with painters like Frank Stella and Ellsworth Kelly (though they became famous for their versions 40 years before hers began to enter important public collections).

Artist Bruce Nauman described this quest as follows: «If you see yourself as an artist and you function in a studio and you're not a painter, if you don't start out with some canvas, you do all kinds of things — you sit in a chair or pace around.

In the 1952 essay, «The American Action Painters,» Rosenberg described Abstract Expressionist painters like Jackson Pollock and Willem de Kooning as creating «not a picture but an event,» using the canvas as «an arena in which to act.»

Mechler almost empties out the canvas of any objects in order to focus entirely on what he describes as a psychological confrontation with painting.

The critic Dore Ashton, reviewing his work at New York's Brata Gallery, which Mr. Kobayashi helped found in 1957, described his canvases and a work of sculpture on view in a 1958 show as «based in a wiry, expansionist imagery composed of tensile lines vibrating from central axes.»

His celebrated «push and pull» dictum — his insistence that every part of a painting participate in a dynamic relationship with every other part — could be described not only as a manifestation of his long - standing fascination with oppositions, but also as an intensified version of the way the transparent planes of Analytic Cubism pulse in relation to the surface of the canvas.

Transitioning from the sparer, more graphic works of 1960 — 61, Frankenthaler made paintings that more readily filled the space of the canvas, moving toward what critic B. H. Friedman described as the «total color image» that would become a hallmark of her later work.

Upon his return to the United States, Graves traveled extensively before settling in Beaumont, Texas, where he finished high school and was described in the yearbook as «a vagabond artist with a commanding mien — rushing here or there with flowers or canvas in hand.»

Wilson's Water Mill Fog, 1966, oil on canvas, described by Strassfield as «an amazing painting,» is in Guild Hall's permanent collection and was exhibited at Sotheby's in New York as part of the March 2014 Academy of the Arts gala.

She likens them to futuristic camouflage, but on a recent studio visit I think I described one canvas as «a LaCroix can for a flavor that might kill you.»

In 1964, on return from his first visit to New York, Hoyland started work on a group of paintings that seemed to signify a maturation point; Mel Gooding has described them as «an astonishing series of huge acrylic canvases of high - key deep greens, reds, violets and oranges deployed in radiant fields, stark blocks and shimmering columns of ultra-vibrant colour.

In a 1999 interview conducted at SFMOMA, Rauschenberg described his decision to cover the canvases with the colored fabrics as a deliberate effort to break away from his previous three monochromatic series (Black paintings, White Paintings, and Red Paintings).

Described as «wash» paintings, the works are somewhere between figuration and abstraction; a product of scraping, craving, and literally spraying the canvas with a pressure washer.

Still described the replicas as versions, not copies, when he said that, «[m] aking additional versions is an act I consider necessary when I believe the importance of the idea or break - through merits survival on more than one stretch of canvas.»

Blinn Jacobs describes her work in a recent statement as being a dialogue between polygonal «shaped» canvases and the use of «painterliness» in regard to the interaction of color.

When Bontecou's sculpture emerged in a public way in 2003, the inevitably reductive ways of art history tended to describe the welded steel frames covered with recycled canvas (such as conveyor belts or mail sacks) and other found objects as sprung from the head of Zeus.

Her initial representational painting would be done from life, out in the open air, then she would take the canvas home to her studio and work over it so that it took on an emotional resonance — something she described as: «that memory or dream thing I do that for me comes nearer reality than my objective kind of work».6 She painted on canvas with a very fine weave and coated it with a special primer to make the surface extremely smooth, blending one colour into the next, making sure that the brushstrokes were invisible.

He describes it as «unpainting» the canvas, leaving all but the faintest vestigial traces of color.

In his 1987 memoir, «CVJ: Nicknames of Maitre D's & Other Excerpts from Life,» written when he was just 36, Schnabel described the painting as the «first that went astray from the predetermined format of a stretched canvas.

His heavily impastoed paintings, often described as sculptures themselves, came from the pouring of paint from a can, with little planning and constant evolution in the medium upon the canvas.

Innes washes away or, as he has described it, «unpaints» the canvas, leaving all but the faintest vestigial traces of color.

The charge of violence and eroticism is implicit rather than clearly articulated and the application of paint is more open and free, embodying the content rather than describing it, thus developing the exploitation of the canvas as a fictional / artificial space, which requires a more sustained reading from the viewer.

New paintings displayed alongside these immersive rooms continue an enduring preoccupation with multiplying polka dots and dense scalloped «infinity net» patterns — Kusama's obsessive repetition of these forms on canvas, which she has described as a form of active self - obliteration, responds to hallucinations first experienced in childhood.

Together, these late paintings demonstrate what Richard Marshall describes in the exhibition's accompanying catalogue as the artist's «pure joy of putting paint to canvas».

While shows such as the Tate's 2010 «Art and the Sublime» chose the more marketable monumental expressions of the Romantic Sublime — the huge canvases of John Martin or Francis Danby — this exhibition chooses to focus on what curator Matthew Hargraves describes as the «quiet transformation» of landscape in the late 18th and early 19th century.

Andre has described Stella's method as «neutralizing gesture» by using uniform, identical and repetitive brush strokes thereby transforming the ground of the canvas into «a field of the painting.»

[45] She has described herself as «A painter who has left the canvas to activate actual space and lived time.»

This year's shortlist was a poor platform for Stuckist protests, with Glenn Brown working in oil on canvas with a technique described as «old masterly», and Michael Raedecker's delicate figurative landscapes in paint and embroidery.

Cooper describes Newman's childhood, artistic techniques, and evolution as an artist that ultimately led him to paint the 14 canvases of The Stations of the Cross, considered by many to be Newman's greatest achievement.

Resnick was once described as a «Monet for the nuclear age,» and as exhibition curator Amy Brandt asks, is this canvas the quick rush of a hunter through a forest or the pounding heartbeat of the hunted?