Sentences with phrase «difference paint can»

What a difference paint can make it!

It is amazing what a difference paint can make, But I also think the glass fronts are part of what makes it so different.

It always amazes me how much difference paint can make.

I'm always amazed at the difference paint can make to a room.

You sure have been busy, what a difference paint can make!!

Not exact matches

It is not my fault that people can't see the difference between that and making a firm stance and thus try to paint me into an argument that I am not making.

Unless corrected for, these «dropouts» can paint a misleading picture about actual differences between cells.

And, knowing that other scientists had recently shown that mice can tell the difference between paintings by Picasso and Renoir, he decided to see if rodents could also discriminate between photographs of their fellows» expressions.

Totally beautiful, paint can make such a difference.

It's amazing the difference a little paint and some updated accessories can make!

What a difference a little paint can make!

What a difference a little love, paint, and a fabulous stencil can make.

I just recently convinced my dad to paint his and it's amazing the difference it can make.

The colors that you choose when painting the walls of your bathroom can also make a big difference in the way the room appears.

I can't believe what a difference it makes painting that desk.

But... I'm pleasantly surprised at what a difference some paint and new decorations can make.

I'm always amazed at what a difference a little bit of paint can make.

So I guess I'm not sure what the difference is with chalk paint — is it a big trend now because of the ingredients in the actual paint (low toxins, etc.) or is there something else that chalk paint can do that regular latex can't?

WHAT A DIFFERENCE!!!!! It still amazes me what paint and new flooring can do.

If you like you can send me your email adress and i will send you some pics of the things i did with both kind of paint and you can see the difference, i also can send you the brand name of the paint, as you are also from europe maybe you can purchase the same paint.

Unfortunately it is difficult to get good pictures in a room without a window for natural light, but you can see the difference that a fresh coat of paint makes in fixing up our old house!

You can simply talk about a new topic to provide information, but consider the difference it would make, especially for visual learners, if you started a new topic or a lesson with a painting that illuminates key concepts under study.

It can still make a big difference for the life of your paint, though.

«Merely adding a fresh coat of paint can brighten up a store and make a world of difference.»

A pawn symbol, for example, means you get to become the first player in the next round, a handy benefit in a game where making the first decision during drafting can mean the difference between getting the painting you really want or having to make do with something else.

When you charge by the square inch, the price difference between a small painting and a larger one can become astronomical.

I just started painting, I used acrylics first, then switched to oils, but I can tell the difference right away!

As someone whose job is at least in part to make these distinctions, how can you tell the difference between a genuinely good abstract painting versus, as you say, something that is very salable — something that simply looks like an abstract painting?

In comparing the hysteria around Dana Schutz's painting to the lack of outrage over the painting by Henry Taylor of Philandro Castile, or Jordan Wolfson's extremely violent virtual reality film orchestrated by the sound of Chanukah blessings, I can only conclude the difference is due to a question of ownership of one's own cultural and historical narratives.

In an old joke, an abstract painting hangs upside down, and no one can tell the difference.

Compare her painthandling to that of Philip Guston or, to take a contemporary example, Melissa Meyer and one can immediately divine the difference between painting as technique and painting as touch.

Pairing paintings, sculptures, and prints from GW's notable permanent collection with healthy recipes related to their subjects, this exhibit hopes to demonstrate how small changes in one's diet can make a difference.

And can you talk about the differences and similarities between working on your sculpture and your painting.

Considering the work of Edward Hopper and Fairfield Porter, Philip Koch looks at»... the difference between two of the main ways of seeing in painting - one can either move one's eye across the surface or plunge into the painting's depth.»

Asked what he finds appealing about working in oil, Brickhouse comments: «One of the beautiful things about oil paint is that you can take off as intelligently as you put on, where I found, mostly, acrylic is additive... it's kind of like the difference between video and film.

While it may be easy to paint the «creative differences» between Vergne and Molesworth as one of the director favoring blue - chip white male artists, and the curator wanting to create a more inclusive platform for women and artists of color, what can be said about the urged retirement of the long - term senior curator of color, who had been doing that work all along?»

2007 An Atlas of Events, curated by António Pinto Ribeiro, Debra Singer and Esra Sarigedik Öktem, Calouste Gulbenkian Foundation, Lisbon, Portugal The History of a decade that has not yet been named, Lyon Biennial 2007, Lyon, France Introvert, Extrovert, Makes No Difference, curated by John Armleder, Galerie Catherine Issert, Saint Paul de Vence, France NeoIntegrity, curated by Keith Mayerson, Derek Eller Gallery, New York, NY Summer Group Show, Richard Telles Fine Art, Los Angeles, CA Dump: Postmodern Sculpture in the Dissolved Field, The National Museum of Art, Architecture and Design, Oslo, Norway Painting as Fact — Fact as Fiction, organized by Bob Nickas, de Pury & Luxembourg, Zürich, Switzerland A Fair Show: Slang and Cool Orthodoxy, Galleria Massimo De Carlo, Milan, Italy Freelance Stenographer, a collaborative performance and video project by Kelley Walker and Seth Price, The Kitchen, New York, NY Op Ed World, Galerie Frank Elbaz, Paris, France The Melvins, curated by Bob Nickas, The Mandrake, Los Angeles, CA Compulsive, presented by Jalouse at Palais de Tokyo, Paris, France, originated at IAP Art, Miami, Florida Art in America: 300 Years of Innovation, organized by the Solomon R. Guggenheim Foundation and the Terra Foundation for American Art; presented at the National Museum of China, Beijing, China travelling to the Shanghai Musuem, Shanghai, China Altered States, curated by Nicolas Bourriaud and Paolo Falcone, Fuori Uso 06, Pescara, Italy, travelling to WAX — ex MEO, Budapest, Hungary; travelling to Galeria Noua and MNAC National Museum of Contemporary Art, Bucharest, Romania Uncertain States of America: American Art in the 3rd Millenium, (GuytonWalker), curated by Daniel Birnbaum, Hans Ulrich Obrist and Gunnar Kvaran, Le Musée du Serignan, Serignan; Herning Art Museum, Herning / Copenhagen; The Centre for Contemporary Art, Zanek, Ujazdowski, Warsaw For the People of Paris, Sutton Lane — Paris, Paris, France

Condo started making «drawing - paintings», where you can't distinguish e.g. paint from pastel, or a line made with a paintbrush or a line drawn in from and thus making the two mediums equal: «There's no real difference between figurative painting or abstract painting, «cause it's all painting to begin with... You don't» have to follow any rules as a painter.

You can look pretty closely at the paintings just before his collapse and the ones right after, and at some point you've got to admit there's hardly any difference at all.

The real difference between the «Elegies» and the «Opens» is that the earlier series retains a faint trace of symbolism that can include a Freudian reading of their phallic and testicular shapes, while the latter paintings are more purely visual in their content.

The same is true of the differences in the opacity and thickness of the paint layers; they can keep the boundaries and space within a painting in flux.

«In a Different Light,» University of California, Berkeley Art Museum and Pacific Film Archive, Berkeley, CA, January 11 — April 9, 1995; catalogue «Articulations: Forms of Language,» Whitney Museum of American Art (organizer), Fisher Landau Center, Long Island City, NY, May 13 — June 30, 1995; brochure «Telling Tales,» The Rotunda Gallery, Brooklyn, NY, September 14 — October 28, 1995 «Face Forward: Self Portraiture in Contemporary Art,» John Michael Kohler Arts Center, Sheboygan, WI, 1995 «In the Flesh,» Aldrich Museum of Contemporary Art, Ridgefield, CT, 1995; catalogue «25 Americans: Painting in the 90's,» Milwaukee Art Museum, Milwaukee, WI; catalogue «Boxer,» Walsall Museum and Art Gallery, Walsall, UK, 1995; catalogue «XI Mostra da Gravura Cidade de Curitiba / Mostra America,» Curitiba, Brazil, 1995; catalogue «Configura 2: Dialog de Kulturen,» Erfurt, Germany, 1995; catalogue «Mirage: Enigmas of Race,» Difference and Desire, Institute of Contemporary Art, London, UK, 1995; catalogue «Glenn Ligon, Gary Simmons,» The Fabric Workshop, Philadelphia, PA, and Beaver College Art Gallery, Glenside, PA, 1995 «Word for Word,» Beaver College Art Gallery, Glenside, PA, 1995 «Pervert,» University Museum, University of California at Irvine, Irvine, CA, 1995; catalogue «fag - o - sites,» Gallery 400, School of Art and Design, University of Illinois at Chicago, Chicago, IL, 1995

There is also mileage in pursuing newness in abstract painting, but its newness can not match that of the latest abstract sculpture which indeed looks so very «different», its difference throwing some people (including me four years ago).

NOW I'm sure — I'm CERTAIN — you ALL can FINALLY see that there's no difference between abstract and figurative sculpture — or painting — that, really, there's no difference between sculpture and painting.

«Choosing the right materials can make a big difference in how loose your painting turns out,» the artist says.

«A Euro - centric viewer's reflection on a black subject in painting might encompass more than the idea of difference, but it can seldom escape entirely from this initial designation of «other.

I can't praise ArtTutor enough for the difference the lessons and demos have made to my painting pleasure.

The environment gets less attention, but of course it makes a big difference to the reception of the work — a difference which is in turn influenced by the work and the viewer: some paintings are less able than others to assert themselves within a challenging context, and some people are relatively immune to where a work is hung; provided they can see it, they are good at isolating the item of primary interest from its surroundings.

Ian, I'm guessing, probably because the total area of the atmosphere and Arctic ice, where albedo makes a large difference, is so much larger than the total area on which people can paint things with reflective paint (even if we get paint the exact «color» of the infrared bands in which the atmosphere is transparent — «Hello paint store?

In our area, most politicians can not tell the difference between the snazzy new paint schemes on the bus and shiny new shelters (which give the appearance of public investment) and actual dedicated transitways which guarantee faster and more reliable bus travel times.