Sentences with phrase «end of painting»

Try this negative nail design by using the flat end of a paint brush and dot accordingly.

Many ends of painting have been called: showing the world, displaying pure form or color among them.

«This superb collection of newly classical writings proceeds from the virtual end of painting in 1981 to its many re-emergences, all the more vital each time.

And then I went to the opposite end of the paint chip for one side of the hallway with a medium toned grayish green.

He questioned the «End of painting as art?

People who can't figure out which end of a paint brush to hold are acting as general contractors when rehabbing older places.

The Raw and the Cooked, Shirley Kaneda and Roland Flexner, by Devon Golden Dan Walsh: The Endless End of Painting, by Joan Waltemath

Today, as so many abstract painters inch closer to an overt inclusion of recognizable imagery, fully invested representational painters are no longer just filling out the far end of the painting spectrum, but are playing a key, if yet unappreciated role in reunifying the entire painterly enterprise.

Best known for his fastidious paintings of geometric solids composed by chance through a system involving the roll of a die, Daniel Aksten's work in Support, Edge, Variation continues to stress the conceptual end of painting, as container of visual experience, true unto itself.

Dumas matters as one of a number of now middle - age painters who dealt with the apparent dead end of painting after modernism.

I always lean toward the more colorful end of the paint deck, as I know from experience that the right color can sell a home.

I just painted a base color and started making polka dots using the end of a paint brush.

But to tell it, we will have to turn away from the postmodernist obsession with the proclamation of the End of Painting.2 We also need to move away from the period's own «return» of painting in an abstract mode, the 1980s developments variously baptized «neo-geo» or «simulationism,» in which histories of abstraction were programmatically subjected to the strategies of appropriation or the readymade.3

On the other hand, it is viewed, derisively, as a dehumanized dead - end of painting.

With the exception of the few black shapes that made their appearance at the start and the end of her painting life, Martin's palette is airy and light — neither heavy nor dark — and it's no stretch to associate this with the classicism she espoused or with the ideas of perfection and joy and innocence, and so on, which held her rapt.

Too much of a Derridean to think there can ever be an ending, as opposed to a deferring, I have never taken seriously Reinhardt's (or anyone else's) admonition about the end of painting.

Indeed, they were so radically new that they seemed to many to announce the end of painting, and perhaps of art itself.

Each artist questions the means and the ends of painting in contemporary art, quite clearly demonstrating that as contemporary theory re-appropriates art history, so does contemporary artist re-appropriate the act of art making.

1990 TIME, A Portfolio of Etchings, Marc Richards Gallery, Santa Monica, CA The Ends of Painting / The Edges of Abstraction, Shoshana Wayne Gallery, Santa Monica, CA 1990 Phoenix Triennial, Phoenix Art Museum, Phoenix, AZ Past & Present, RosamundFelsen Gallery, Los Angeles, CA Eastern Aesthetic, Allport Gallery, San Francisco, CA

Nothing but clearly - organized, self asserting painted surfaces of non - objective / non-representational form and color, these pictures were so radically new that they seemed to many people to have announced the end of painting and, even perhaps, of art itself.

And yet while his peers eventually explore what they thought would be the end of painting with avant - garde performances and minimalist works that functioned between

In the middle of it all is Robert Rauschenberg's White Painting (1951), one of the earliest pieces in the show and perhaps the one which, in its simple paradox of filled - in blankness, epitomises the cyclical quest for the end of painting.

Douglas Crimp notes in his progressive essay, «The End of Painting,» that with the rise of student movements across the world in the 1960s came the birth of institutional critique.

The painting is a sophisticatedorchestration of positive and negative space, with the depicted herd appearing as bright negatives, and the groups of trees, their trunks and foliage rendered as a series of scraffito - like marks (perhaps made with the end of a paint brush) to reveal lighter hues beneath the final, glowing earth tones.

Despite repeated pronouncements on the end of painting since the later»60s, her work proposes that it still can.

The Black Paintings marked both a beginning and an end: the end of painting as illusion, as a window onto the world, and the beginning of painting as the mode for the creation of self - sufficient perceptual objects — a change that granted new roles to both artist and viewer.

I like painting because it's something I can never come to the end of

The big questions, such as the end of painting with the birth of photography, or the polarization between abstraction and representation, are just meaningless in the world of Postmodern thought.

Kasseböhmer's decided renunciation of irony struck a distinct contrast to many of his contemporary Cologne painter colleagues and their ideas about the end of painting.

KSWithout belaboring that «end of painting,» I guess one of the things that interest me about that work of David's, and it's the same thing I see in yours, is that it holds together the abstract and the pictorial, the process and the image, in a way that I also see in Georg Baselitz and other people.

The camera work is not great at the end of the painting.

I was really enjoying the idea's she was giving me but by the end of her painting I was excepting the kitchen sink as a birdbath!

From then on they were the subject of a widely conducted debate over the goal and future of painting, charged with emotions that erupted in numerous articles such as «The End of Painting» or «Last Exit: Painting».

Gagosian Gallery presents The Show is Over, an exhibition about abstraction and the end of painting, often proposed but never concluded.

Rumpled canvases and broken studio paraphernalia: is Angela de la Cruz mourning the end of painting itself, asks Adrian Searle

By the end of the 1970s, when cultural critics began speaking of «the end of painting» (the title of a provocative essay written in 1981 by Douglas Crimp), new media art had become a category in itself, with a growing number of artists experimenting with technological means such as video art.

The end of painting.

200 years after the end of her painting career, it's high time Louise Élisabeth Vigée Le Brun (1755 — 1842), better known as Vigée Le Brun, had a major retrospective.

And yet while his peers eventually explore what they thought would be the end of painting with avant - garde performances and minimalist works that functioned between art and object, Boyd moved forward with an obsessive painting practice.

Her 2010 retrospective at the Moderna Museet in Stockholm organized the works into eight categories: early works and beginnings in New York, the Airplane series, A phallic world, Tools, abstract paintings, text - based conceptual works, «the end of painting,» and the Wave series.

I mention these three artists because each of them hit their stride in the 1970s, or, after the «1960s,» when, according to Douglas Crimp, in his essay «The End Of Painting» (1981), «painting's terminal condition finally seemed impossible to ignore.

The end of painting is a prime subject for Hammons, though ultimately his attempts to kill it backfire»» cloth folds become expressionistic gestures, while the heavy lighting of the gallery gives the works a baroque drama.

Possibly the end of painting or photography, but the blank canvases can simultaneously be seen as new beginnings.

«I don't know whether this is the beginning of a painting or the end of a painting.

It neither signals the end of painting nor guarantees its continued longevity but keeps the prospect of painting an open question, answerable only through the production of new paintings.