Sentences with phrase «different painting experience»

Not exact matches

Students will: • Produce creative work, exploring their ideas and recording their experiences • Become proficient in drawing, painting, sculpture and other art, craft and design techniques • Use a range of techniques to record their observations in sketchbooks, journals and other media as a basis for exploring their ideas • Use a range of techniques and media, including painting • Increase their proficiency in the handling of different materials For more Champions of Change lesson plans and materials for BBC Children in Need, visit and our Tools and Resources pages to download directly: https://www.bbcchildreninneed.co.uk/championsofchange/resources Thank you.

My experience with the Common Core is far different from the picture painted in this article.

Customers will be able to visit the facility as part of the Aston Martin experience where specialists are able to guide and help customers specify their Rapide with over 2.5 million different combinations of paint, options and finishes available from Aston Martin's core options list.

thechineseroom promises experimentation within «dynamic, adaptive storytelling» and that they are «re-introducing more interactive elements to the experience», painting a much different picture of this spiritual successor to the more linearly driven Esther.

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.

BB: «The work of the eyes is done» is certainly an interesting quote to hear from an observational painter, as is the notion that images are «imprisoned within...» Applied to your paintings though, these notions speak to the kinds of interior spaces you paint, the rooms of your house at different times of day, for instance, or your color, which can be muted, but also evokes a rich vision of everyday experience.

Could you say something about how the different color experiences of the west coast has influenced your painting?

DS: I really think that it's interesting to have a physical position in front of a painting because that's a different type of experience.

Her references could be literary and philosophical, what she said about her work was deep but different than an academic discourse, as much rooted in daily visual experience as in popular culture and in direct transmutation into paint of such experience.

If the latter is intrinsic to the experience of his «Flo» paintings, in the four large diptychs Richter has presented in the main ground floor space, reflection has been employed almost entirely in lieu of mark - making in itself, which opens up fundamentally different readings of the monochrome.

You have to see it over time, and you have to see different kinds of works by the same artist, and kind of live with it, live with the experience of that painting and come back to it until you sort of connect to it

Each work captures a different experience; even the holes between each experience, each painting, fascinate me.

Ceres Gallery presents the exhibition Elizabeth Downer Riker: Beneath the Same Sky, a series of paintings juxtaposing the experience of farming in two of the most profoundly different parts of the Americas — the New York metropolis and a Mesoamerican village in Mexico.

If you always paint indoor, set up somewhere outside and experience a different environment.

The experience of that exhibition is clarifying: Moran's paintings span all four large rooms of Parasol unit, and one experiences just how radically different each work is from every other.

Throughout her life, Morgan produced work within different mediums with fluidity, shaped by what she described as «early root experiences» with painting and poetry.

The way I've figured to go about doing this through objects is to always try to surprise myself, decision by decision, as I build each painting with the hope that the viewing experience mimics this process, meaning that I hope that the painting unfolds, collapses, comes back together and unfolds again in a different way as the viewer navigates through it.

CB You wrote to me recently, «Abstraction had carried on with painting and produced a different experience with it and I wanted to continue that work, take up that challenge, the legacy of all painting as inherited by abstraction.»

The exhibition brings together a great range of artistic practices and languages (photography, video, painting, sculpture, installation...), cultures, geographic origins, generations and experiences, to establish a tension between extremely different artistic approaches: melancholy of vanity, ironic play with identity, political biography and existential questioning, the body as sculpture, effigy or fragment of its symbolic substitute.

Thus these actors and their stage in the total cinematic experience of C R A S H, where the drama of Zack Davis «motionless glass barnacle stuck to the screen of a simulated fireplace plays out in a different dimension of the same space as Anne Fellner «s painting of a white swan lying limply on its side.

My family are the first ones that I painted, thinking that the amenities and the advantages and experiences I was having here were very different than the daily struggles they experienced in Illinois, where one of the series of women drivers is set because my family migrated there.

Our oil colors are so vibrantly rich with pigment, so buttery smooth and consistent in their flow characteristics, that painting with them is a different experience.

I have been arguing that Untitled [glossy black painting] presents a different visual experience from one viewing to the next.

Even though artists use the «white painting» for different objectives, the play of light and shadow, using the canvas to inspire a unique meditational experience absent of all outside references, and the inevitable comparison with notions of the «white - cube» gallery all play into the layers of meaning hidden under all that white paint.

I've introduced a different kind of artifice into images of them, photographing them in poses taken from Renaissance painting, bringing together two very different codes of physical expression, each of which heightens the experience of the body in its own fashion.

But nonetheless it stands as testament to the enduring power of paint to express a multitude of different lived experiences, emotions and agendas and to chime with the most contemporary of concerns.

Using different color systems and ways of organizing space, his paintings and sculptures negotiate the contemporary experience of time, labor and the body.

Featuring 10 new paintings in Sam's signature style, a play with light and shadow, the works explore different characters in low sunlight and are based on autobiographical experiences.

Combining images from different sources, Sikander creates densely layered paintings that transcend traditional notions of narrative to combine «overlapping commentaries on lived experiences, art history, and pop culture.»

Dagley discusses his installation of three large shaped paintings - each different in form, color, and approach - which nonetheless create a powerful unified experience.

Because an installation usually allows the viewer to enter and move around the configured space and / or interact with some of its elements, it offers the viewer a very different experience from (say) a traditional painting or sculpture which is normally seen from a single reference point.

In effect, the paintings function as a way to activate and pry open different pictorial, cultural, and historical forces in order to experience them yet again in unique ways.

He was already playing with the medium's relation to painting, with the line between abstraction and figuration, with an abolition of traditional perspective, with the theme of global commercialism, with picture sizes so large that viewers» experience of the work changed noticeably at different distances.

Depending on the lighting, the space and the sequence in which paintings are hung, the viewer's experience can be very different.

The crucial thing to note about this exhibition is that the experience offered by each painting is different.

Some Americans art historians believed that your work possessed a kind of symbolic and emotional content that reflected the experience of the war more accurately than other painters and, in a way, different form the paintings of the abstract expressionists.

In the downstairs gallery, Henry presents a group of mostly nocturnal landscape paintings that take into account how artists as different from one another as Frederic Remington and Ed Ruscha have influenced how we see the West, while Minimalists such as Donald Judd and Dan Flavin have transformed how visitors and locals experience it thanks to Marfa's Chinati Foundation, a pilgrimage site for international art tourists.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

Throughout, Smith generates an experience in this show where painting, in its extension into different forms — as backdrop, as sign, or as memorial — performs in a greater capacity, perhaps for a wider audience.

How to ensure that painting is experienced as a very different form of engagement, and framing as more than the inferred edges of an iMac screen?

At a time when a new generation of abstract artists experiences the grids of Mondrian not as spiritual threshholds but as prison bars, the exhibition reminds us what was at stake when a handful of artists in different parts of Europe first painted without reference to the external world.

Informed by neuroscience and leaps of intuition my paintings aim to reveal a new and different visual experience by articulating an objective, thus universal, color language that is based on certain predications of the viewer's response.

The paintings in the show are all made in relation to my experience of this building and what it was like to develop relationships with my neighbors — both as a white person living in this historically black neighborhood that is truly under siege, and as a trans person who is often read very differently by different people.

Between States is made up of a set of images and texts that move the reader between different forms of representation and knowledge: from paintings to photographs and video - stills, and from texts involving varying degrees of theoretical abstraction to first - person accounts of events and experiences in Israel, the West Bank, and the UK.

«My paintings are autobiographical and focus on different places, people, and experiences in my life.

This evaluation of both visual and bodily experience via materials and space has a precedent in work of the 1960s and 1970s, something well understood before the mid - «60s, when dogmas hardened around different styles like Pop, Minimalism, Color Field painting, etc..

Sometimes it seems as if I paint just one painting always, from white canvas through an experience of colors and lines and then back to white again, yet always enriched, always different, always including more, always changing, nothing is ever lost.

Committed to the expressive and enduring language of painting, they share a deep interest in our contemporary experience refracted through technology and cultural media, with manifestly different outcomes in their work.

«When a person is standing at one end of a 42 - foot painting, it should be a totally different experience than standing at the other end,» Corse says.

Complementing this, the gallery space allows for a changing experience of Leapman's paintings with the different conditions of light and space, juxtaposing early and recent works like the differing harmonies that find unity in a single piece of music.