Sentences with phrase «ever paint a space»

Yep, never thought I would ever paint a space white, but I'm doing it!

Not exact matches

First of all, the Snow Day coffee roast by Stumptown (I picked mine up at Sidecar Donuts); secondly, these radical paintings by Leap Year Illustration; thirdly, every pair of Beyond Yoga space dye leggings (they are the comfiest things in my life); and lastly, sweet Ally over at Neat Coffee — if you are ever in Orange County, go visit her smiling face.

Pros: Put up your hand if you've ever stared at painting in a store, or squinted at a picture on your tablet, trying to imagine how it would look in your space?

Yellow or pink backgrounds relate to expressionism, but they also transfer human substance to the space of a painting, and it never, ever left.

(Holland Cotter The New York Times) Some of the more significant creations about spirituality, beauty, and painting itself that modernism has ever known... She used the grid as a forum for belief - a space where the viewer as well as the artist could contemplate the hand making the thing being observed.

Elsewhere, we have a meditation on — or possible antidote to — the UK's massively depleted art education system from the ever - genial Bob and Roberta Smith, who has turned the whole town into a space for artistic investigation and self - expression, via his Folkestone is an Art School initiative - announced in his usual bright, poster - paint signage on banners all over the town.

And the earliest work in the exhibition, Vija Celmins's 1964 painting Heater, sets the glowing red center of an electric space heater amid a field of deep grays — reminding us of the constant, ever - shifting dialogue between hot and cool, color and shadow.

I blame it on seeing, as a teenager, reproductions of Piet Mondrian's tree paintings from the early 1910s: ever - thickening patterns of branches that flattened space, an evolution from figuration to some sort of Platonic essence of tree.

Notably, 1953 was also a pivotal year for de Kooning, who finally found staunch critical support and solid financial success following the exhibition of paintings and drawings from his Woman series at the Janis Gallery that spring.22 By then, Rauschenberg had known de Kooning for a year or more and had seen him on occasion, often through their mutual friend Jack Tworkov (1900 — 1982), who sublet studio space from de Kooning.23 Even as other details of the Erased de Kooning Drawing story changed, Rauschenberg always insisted that he chose de Kooning out of deep respect for his work and because there was no question that a drawing of his would be considered art — and this was more true than ever in 1953.24 Critic Leo Steinberg later reported asking Rauschenberg whether he would have erased a drawing by Rembrandt, to which he replied no.

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.

Some of the more significant creations about spirituality, beauty, and painting itself that modernism has ever known... She used the grid as a forum for belief - a space where the viewer as well as the artist could contemplate the hand making the thing being observed.

We've all been to art galleries and enjoyed wandering through each space to discover classic and contemporary works of art; but have you ever seen oil paintings that capture that experience?

Rail: Do you think having surfed ever since you were a kid, an activity you still actively love, may correspond to the way you mediate space, especially in your large - scale paintings or sculptures?

His work fuses video, costume construction, performance and painting to explore and redefine queerness, diasporic, psychological and ever shifting unnamed spaces.

Taking his cues from artists as diverse as Pablo Picasso, Henri Michaux, and Christopher Wool, Feaster seeks to advance the language of abstract painting through the use of an ever - expanding lexicon of material effects, marks, and erasures, entreating the viewer to participate in a disjointed narrative that warps the experience of pictorial space, light and action.

The paintings in Summer is Over are more large - scale than ever before, partially because I now have a much larger studio space with which I am exploring.

Most were occupied by a single piece, which worked well enough when it came to the suitably uncanny and forlorn sheep and pig in formaldehyde, but the medicine cabinets, an unnecessary new series of prints of pill box labels, and the ever vapid spin and dot paintings couldn't, on their own, hold either the space or your attention.

Crowner's work walks that ever - fine line between the distinctly process - oriented abstraction and that of outright depiction, using her assemblage - style approach towards joining painted fragments, and using them as an homage to the many weeds growing outside of her studio space, referencing the creeping reclamation of natural space from the post-industrial architecture.

Working like the Roman god, Vulcan, forging calderas and caverns with deep, rock - like chasms of paint, Berg's illusionistic space offers no horizon, only an ever - changing, tumultuous world where time and space are uncertain.

But by this time Stella's idea of a painting's structure had become ever more complex, and he began to experiment with assemblages of dynamic forms that extended several feet into space from the picture s background support.

By the beginning of the Tang dynasty (618 — 907), the tradition of landscape painting had advanced little, partly because of the ever - increasing demand for Buddhist icons and partly because artists were still struggling with the most elementary problems of space and depth.

Last spring he opened a space on 26th Street with a large, imposing show of paintings by Picasso, Francis Bacon and Jean - Michel Basquiat, the most assertive display of big - name, big - ticket dead artists ever seen in Chelsea.

Having first attracted attention with flatter - than - flat hard - edged paintings, Stella has been steadily expanding into space ever since, beginning with low relief and collage and proceeding to curved canvases, paintings with projecting sculpture - like elements, and out - and - out sculpture — although Stella prefers to think of his free - standing works as paintings in three dimensions or «sculptural paintings,» rather than sculptures.

And whilst I applaud the sense of her wanting to make her painting more abstract, and lose the semi-figuration that is part of the Hofmann / de Kooning «package» she starts from, it comes back to the ever - present dilemma in abstract painting: deep and dramatic space is (often) ambiguously figurative; shallow space and surface is (often) flat and disappointing.

HH: Is there ever a process of revision involved in translating the painting into that space, once you arrive on site?

I know it's not the most glamorous blog post ever written, but carpet & paint selection are such key decisions for a space!

I promised them that painting the stone white would immediately transform the space (in conjunction with the lighter walls and bookshelves), and while I don't think they ever fully believed me, they trusted me enough to go through with it and ended up loving it.

Having freshly painted walls as a jumping off point means I will be more ready than ever to really personalize our space with special accessories, furnishings, memories and photos.

Have you ever painted an inexpensive piece of furniture and used it in your space asks House Beautiful??? (House Beautiful) I think it might be easier to ask me if I actually ever bought new furniture and used it in my house.