They'll still prefer strong primary colours for a while yet, though, and distinctive geometric patterns plus simply
drawn images of faces.
In my class,
I draw images of faces on the board and have my students guess the emotion that's being displayed.
Not exact matches
They're
drawn toward
images of faces.
Embed from Getty
Images Hopes were high as the Gunners prepared to
face visiting Bayern Munich in the third match
of Group F. Although they hadn't amassed any points from their last two outings, Arsene Wenger's side had
drawn confidence...
Darwin commissioned the
images, which depict a Celebes crested macaque (Macaca nigra, formerly Cynopithecus niger), asking Wolf for
drawings of a «monkey's
face while laughing».
Also includes a stage by stage plan to
drawing the human
face in proportion, a step by step plan to producing a clay head and
images of faces for inspiration.
RESOURCES INCLUDE: INFORMATION Bear species information pack, Bear flashcards A5, habitat, facts posters, fact cards, map
of the world LITERACY Alphabet flashcards, Hand writing worksheets, Days
of the week flashcards, Months
of the year flashcards, Alphabet train with bears, poem posters, writing worksheets and activities, adjectives cards, sight word cards, story board, word mat, «air» sound word cards includes words such as bear, dare, hair etc Air and ear cards to be completed by pupils with topic cards and worksheet ACTIVITIES Bear
face masks, Hand puppets, Bingo game, Colouring pages, cut and stick activity, Dress the teddy —
drawing activity, several
drawing activities, pairs cards game, colouring pages, mind map, make a 3D bear, quiz, writing activities, book marks, well done cards, word search, fact cards etc DISPLAY Bear photo pack, Useful
images for display, display borders, long banner, large lettering, key word cards, drawer labels, triangle bunting, and other display materials.
The book's large scale renders the
images nearly life - size,
drawing you in to the many
faces: Stephen Hawking gazes piercingly from his wheelchair, Johnny Depp drops a hint
of a smile, a sun - drenched African mother fills a bedroom with her loving warmth as she works to prevent babies from being born HIV - positive.
In some cases he added a brush
drawing of a mask - like
face and thereby, in conjunction with the warm under - color, hinting — almost imperceptibly — at the painter's larger project: employing a rigorously systematic approach (geometry and monochromatic color) to generate
images of remarkable emotional force.
This series, Exit / Dark Matter, which Parrino made in the 1990s, comprises 41 ink, graphite, and spray - paint
drawings and paintings on vellum, using
images he appropriated (to use that quintessentially»80s word) from comic books, artists like Goya and Robert Smithson, bikers, rock musicians, the killer Charles Manson, and various
faces and events, all
of which depict action and riot.
Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised
of ink - covered church pews mounted on wheels; «Ambulascope,» a downward
facing telescope supported by a seven - foot tower
of walking canes, which are marked with ink and adorned with Magnetic Resonance
Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teen
Images (MRIs)
of the spinal column; «Riot Gates,» a series
of large - scale X-Ray
images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teen
images of the human skull mounted on security gates and surrounded by a border
of ink - covered shoe tips, objects often used by the artist as tenuous representation
of the body; «Role Play
Drawings» a series
of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House
of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often
faced with when dealing with young African - American teenagers.
Finding himself
drawn to figurative
images displaying a complexity
of expression, Lawson's resulting paintings each focus on a single figure from torso up, all including
faces and hands.
Everything is going to be alright, Elizabeth Cherry Gallery, curated by Bob Nickas, Tucson, Arizona, USA Fresh: Recent Acquisitions, Albright - Knox Art Gallery, Buffalo, New York, USA Works on Paper From Acconci to Zittel, Victoria Miro Gallery, London, England Next Wave Prints v. 2.0, Elias Fine Art, Allston, Massachusetts, USA New Paintings, Wayne Gonzales, Jacqueline Humphries, Jonathan Lasker, Blake Rayne, Dan Walsh, Kevin Bruk Gallery, Miami, USA 2000
Drawings & Photographs, Matthew Marks Gallery, New York, USA What's So Funny About Color, Elias Fine Art, Boston, USA Glee: Painting Now, The Aldrich Museum
of Contemporary Art, Ridgefield, CT Palm Beach Institute
of Contemporary Art, Organized by Amy Cappellazzo and Jessica Hough), Florida, USA PICT: Digital
Image Painting, Banff Centre for the Arts, curated by Yvonne Force and Carmen Zita) Alberta, Canada Paula Cooper Gallery, New York, with R. Grosvenor, R. Lichtenstein, R. McBride and D. Walsh, Tomio Koyama Gallery, Tokyo, Japan Hex Enduction Hour, Team Gallery, New York, USA (Curated by Bob Nickas)(212), Gary Tatintsian Gallery, New York (Organized by Irena Popiashvili, catalogue with essay by Christine Kim) Bit By Bit: Painting & Digital Culture, Numark Gallery, Washington, USA 1999 Sweet & Sour, Galerie Art & Public, Geneva, Switzerland Digital Sites, Numark Gallery, Washington, USA 1998 Brite Magic, Islip Art Museum, East Islip, New York, USA (Curated by Carolanna Parlatto) 1997 Diamond Dogs, Team Gallery, New York, USA Super Body, Tomio Koyama Gallery, Tokyo, Japan 1996
Face and Figure in Contemporary Art, Museum
of Fine Arts, Boston, USA AbFab, Feature, New York, USA Mutate / Loving the New Flesh, Lauren Wittels Gallery, New York, USA (Curated by Michael Cohen) Supastore de Luxe, UP & Co., New York, USA (Curated by Sarah Staton)
While chronicling individuals who
faced a range
of civil and social hardships in South America in the 1970s, she became fascinated by the story
of the individual and was
drawn to the narrative power
of images.
2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review
of Books, lareviewofbooks.org, (
image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation
of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The
Face Collector», essay for Sniff The Space Flat on Your
Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art
of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City
of Brea Art Gallery, Brea, CA, March 2005 The Armpit
of the Mole, a
drawing compilation, Fundació 30 km / s, Paris, France
Little information was given with the announcement
of the show apart from an
image which stood in as the Facebook event cover photo
of one
of Bouvy's
drawings of a worried
face next to a sculpture cast
of a foot.
Look in my
face... is a computer - generated montage
of tens
of thousands
of images and sounds
drawn from public archives, and is intended as a reflection on shared cultural narratives and memories.
The hand -
drawn images of Johnson reflect a formative interest in 1980's science fiction, horror movies, video games and comic books, creating environments
of ancient yet futuristic alien civilization populated by mystic characters like bat -
faced demigods, gargoyles, worms and genderless pink humanoids that are contorted into ritualistic positions that waver between torture, rapture and worship.
The human
face appears in a wide variety
of contexts in contemporary art, whether it is in the form
of a video
image, photograph, sculpture,
drawing, or as part
of a spatial installation.
Each
drawing pairs two
of these silhouettes
facing each other... The act
of confrontation that is the only psychological relationship fully stated by the
images is all that is required to establish a narrative.»
The
drawings were juxtaposed with a sculpture that seemed more lasting: Light Days, 2012, a deformed head perched on an elongated, upside - down U. Painted the color
of desiccated skin and embedded with actual bone, this monstrous bipedal body is part primitivist fantasy, part monument at the end
of the world «and paired nicely with Mummy, 2012, a painting it
faced, which displays the
image of a head wrapped in gauze.
Prussian Blue (2010 — 16) is perhaps his most complex distillation
of the problematic
of the painted
image, challenging us, moreover, to
face head - on the historic event before which politics and ethics today
draw their shared boundaries.
A selection
of clock
face images,
drawn into with maniacal black - toothed grins, scribbled out words and series
of numbers give an even greater sense
of falling down the rabbit hole.
1987 Art — to — Wear Fashion Show, Boutique and Luncheon, The Cleveland Center for Contemporary Art, USA Malerei — Wandmalerei, Grazer Kunstverein, Stadtmuseum Graz, Austria
Drawings from the Eighties, Carnegie Mellon University Art Gallery, Pittsburgh, USA Art Against Aids, M. Knoedler & Co, New York, USA (Benefit exhibition and auction for the American Foundation for Aids Research) Avant Garde in the Eighties, Los Angeles County Museum, USA Romanticism and Classicism, The QCC Art Gallery, Queensborough Community College, Bayside, New York, USA Working Woman, The Harcus Gallery, Boston, USA Stations, IAC (Centre International d'art Contemporain de Montreal), Canada The Success of Failure, Laumeier Sculpture Park and Gallery, Saint Louis, USA, traveled to Johnson Gallery, Middlebury College, Middlebury, Vermont; University of Arizona Museum of Art, Tucson, AZ (Exhibition organized and circulated byIndependent Curators Incorporated, New York) The Importance of Drawing, Fuller Goldeen Gallery, San Francisco, USA Still Life: Beyond Tradition, Visual Arts Museum, New York, USA Not So Plain Geometry, and Prints in Paris, Crown Point Press, New York, USA Faces, Crown Point Press, San Francisco, USA (Prints by Alex Katz, Francesco Clemente, Chuck Close and Pat Steir) and Recent Publications D'ornamentationi, Daniel Newburg Gallery, New York, USA A Decade of Pattern: Prints, Pieces and Prototypes from the Fabric Workshop, The Graduate School of Fine Arts, University of Pennsylvania at the Institute of Contemporary Art, Philadelphia, USA Stephen Antonakos, Michael Singer, Robert Stackhouse, Pat Steir, 19th Bienal de Sao Paulo, Brazil (Panorama of seven drawings by Steir) For 25 Years: Crown Point Press, Museum of Modern Art, New York, USA Drawings, Sylvia Cordish Fine Art, Baltimore, USA, The West Company, St. Paul, MN, Art and the Law (Traveling exhibition) Images of Stone: Two Centuries Artists» Lithographs, Sarah Campbell Blaffer Gallery, University of Houston, USA, traveled toSan Angelo Museum of Fine Arts, San Angelo, TX; Tyler Museum of Art, TX; Aspen Art Museum, Asp
Drawings from the Eighties, Carnegie Mellon University Art Gallery, Pittsburgh, USA Art Against Aids, M. Knoedler & Co, New York, USA (Benefit exhibition and auction for the American Foundation for Aids Research) Avant Garde in the Eighties, Los Angeles County Museum, USA Romanticism and Classicism, The QCC Art Gallery, Queensborough Community College, Bayside, New York, USA Working Woman, The Harcus Gallery, Boston, USA Stations, IAC (Centre International d'art Contemporain de Montreal), Canada The Success
of Failure, Laumeier Sculpture Park and Gallery, Saint Louis, USA, traveled to Johnson Gallery, Middlebury College, Middlebury, Vermont; University
of Arizona Museum
of Art, Tucson, AZ (Exhibition organized and circulated byIndependent Curators Incorporated, New York) The Importance
of Drawing, Fuller Goldeen Gallery, San Francisco, USA Still Life: Beyond Tradition, Visual Arts Museum, New York, USA Not So Plain Geometry, and Prints in Paris, Crown Point Press, New York, USA
Faces, Crown Point Press, San Francisco, USA (Prints by Alex Katz, Francesco Clemente, Chuck Close and Pat Steir) and Recent Publications D'ornamentationi, Daniel Newburg Gallery, New York, USA A Decade
of Pattern: Prints, Pieces and Prototypes from the Fabric Workshop, The Graduate School
of Fine Arts, University
of Pennsylvania at the Institute
of Contemporary Art, Philadelphia, USA Stephen Antonakos, Michael Singer, Robert Stackhouse, Pat Steir, 19th Bienal de Sao Paulo, Brazil (Panorama
of seven
drawings by Steir) For 25 Years: Crown Point Press, Museum of Modern Art, New York, USA Drawings, Sylvia Cordish Fine Art, Baltimore, USA, The West Company, St. Paul, MN, Art and the Law (Traveling exhibition) Images of Stone: Two Centuries Artists» Lithographs, Sarah Campbell Blaffer Gallery, University of Houston, USA, traveled toSan Angelo Museum of Fine Arts, San Angelo, TX; Tyler Museum of Art, TX; Aspen Art Museum, Asp
drawings by Steir) For 25 Years: Crown Point Press, Museum
of Modern Art, New York, USA
Drawings, Sylvia Cordish Fine Art, Baltimore, USA, The West Company, St. Paul, MN, Art and the Law (Traveling exhibition) Images of Stone: Two Centuries Artists» Lithographs, Sarah Campbell Blaffer Gallery, University of Houston, USA, traveled toSan Angelo Museum of Fine Arts, San Angelo, TX; Tyler Museum of Art, TX; Aspen Art Museum, Asp
Drawings, Sylvia Cordish Fine Art, Baltimore, USA, The West Company, St. Paul, MN, Art and the Law (Traveling exhibition)
Images of Stone: Two Centuries Artists» Lithographs, Sarah Campbell Blaffer Gallery, University
of Houston, USA, traveled toSan Angelo Museum
of Fine Arts, San Angelo, TX; Tyler Museum
of Art, TX; Aspen Art Museum, Aspen, CO..
A mix
of collaged and painted
images — line
drawings of jellyfish and skylines, photos
of faces and body parts, jagged and curvilinear shapes — dances across the glass in a kinetic composition that takes a page from Matisse's cutouts and Romare Bearden's syncopated collages.
Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100
Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art,
Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum
of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University
of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions
of Contemporary Art, San Francisco Museum
of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum
of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age
of AIDS, National Gallery
of Australia, Canberra (catalogue) Black Male, Whitney Museum
of American Art, New York (catalogue) 1993 Building a Collection: The Department
of Contemporary Art, Museum
of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI
Facing the Finish, Art Center College
of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum
of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue)
Facing the Finish, San Francisco Museum
of Modern Art Louder, Gallery 400, University
of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum
of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.
My interest in masquerade
drew me to a lot
of ethnological collections and so - called «primitive» art when creating these works — stark expressions and minimal information forming a
face - like
image — and this, along with an interest in the German expressionists, helped to inform my process.
Likewise, her meticulously rendered
drawings of women's hair — isolated from the the bodies and
faces of their owners — tangle with mass - media
images of female beauty and the precarious projection
of the self onto idealized and unrealistic models.
Pencil
drawings of faces — traced from anonymous
images found online — are pinned to the top
of each one.
I found some
images of blue whales online, practiced in my sketchbook, then
drew it with chalk on the drawer
faces on top
of the blue base color.