Sentences with phrase «experiment while painting»

Each person paints differently, so feel free to experiment while painting to find a method that suits you best.

Not exact matches

It fitted experiments beautifully while painting a picture of a very strange world, in which fundamental particles like the electron are not well - defined objects, but probability clouds.

While they're using various paints, markers and pencils to create new things, children are forced to experiment with new ideas and problem solve.

Perhaps a learner is experimenting with color while painting a landscape.

Though teachers unions are traditionally painted as opponents to merit pay and defenders of the status quo, the American Federation of Teachers has supported several locally - based merit - pay experiments, while saying in its official materials that «it is not abandoning the traditional salary schedule.»

Shahzia Sikander is a Pakistani - born international artist whose pioneering practice takes Indo - Persian miniature painting as a point of departure while experimenting with scale and media, including animation, video, and mural.

Painting from an intuitive and open mindset, Scully experiments with new combinations of colors and creating space and form while also challenging ideas about sight and perception.

Little fingers will experiment with painting, gluing, sticking, printing, and creating while developing fine motor, language, and self - help skills.

Historical counterpoint for such work can be found in the practice of Patrick Saytour, which, while wildly diverse, includes experiments with painting on oilcloth and other domestic fabrics: Ceysson & Bénétière (F10) offer a solo presentation for the curious.

While other artists like Richard Tuttle and William T. Wiley were also experimenting with the unstreched canvas during the same period, Gilliam's sculptural approach was revolutionary in that it repositioned the viewer's relationship with the painting to include the object as well as the space around it, blurring the boundary between painting, sculpture, and architecture for the first time.

More than many of White's contemporaries, the artist enjoys the spatial illusion of paint, creating areas of color that read completely flat while other passages extrude and recede, impressions often complicated by the introduction of objects and her recent experiments with text.

Students experiment with various drawing, painting, and sculpture methods, while gaining exposure to contemporary and historical artworks.

Influenced by abstract expressionism, Gilliam experimented with methods of applying pigment, often pouring paint, staining canvases, and folding them while still wet.

While Minimalist artists such as Carl Andre, Donald Judd, and Dan Flavin were gaining ground with their work in New York, McCracken was experimenting in Los Angeles with a medium somewhere between sculpture and painting, in a parallel fashion.

While Thomas, who is featured in a solo exhibition at the Studio Museum in Harlem this summer, is best known for her geometric compositions of blazing color, her early paintings from the 1950s are rooted in the AbEx style, which unlocked her nimble experiments with hue and form.

With acrylic painted flames overlaid on the photographs, the works celebrate the freedom of the American experiment, while remaining wary of the destructive possibilities afforded by such liberty.

Sonia Delauney's experiments with colour are set to enthral audiences at Tate Modern from April, while Jackson Pollock's action paintings are the subject of Tate Liverpool's summer blockbuster in June.

Mr. Kleeblatt discusses the evolution of Bochner's art from his early word experiments through his return to painting, while Bochner offers a personal perspective.

Gilliam established himself at the forefront of American abstraction while working in Washington, D.C. in the 1960s, when his experiments with paint application and his radical transformation of the canvas support profoundly expanded the possibilities for the future of abstract painting.

For the past seven years, Samantha's painting studio has been based in Beacon, N.Y., and she enjoys experimenting with print media at Garrison Art Center while looking out at the river.

Writing about the Corcoran Gallery exhibition of 1967, Andrew Hudson, an art critic in Washington, D.C., wrote»... Olitski has been able to maintain the quality of his work while experimenting in things that one would expect to turn out «wrong»... the expansion of his vision and of the possibilities of painting that his recent work offers has effected an expansion in my way of looking.»

She experimented with abstract expressionist paintings while at Yale, but we haven't seen too much of that in her most successful works.

Gilliam similarly experimented with the application of his acrylic paint; in May III (1972), he crumpled and folded the canvas while staining it with paint in order to produce innovative effects.

While he enjoyed a tremendous career as a painter, Cruz - Diez turned away from paint in 1959 and began to experiment with colored light and installation art.

It's hard to characterize the art produced in Bushwick: there are endless studios of artists producing forms of traditional figurative painting while countless others are experimenting with digital images — some older talents but mostly younger ones.

While Cory Arcangel issues instructions to Photoshop to create his Gradient pieces («Blue, Red, Yellow», mousedown y = 5750 x = 8250 and so on) in the manner of a 1970s conceptual artist, the Los Angeles - based Michael Rey populates his shaped wall works with a flattened layer of carefully hand - modeled, painted plasticine ground: «The choice of this material began as an experiment,» says Rey, «but continues to reflect my personal anxieties about finitude.»

While Jackson Pollock is considered as the most well - known painter who created his abstract pieces by dripping paint onto a flat canvas, many before him experimented with this method as well.

With the resurgence of figurative contemporary painting, painters of the 1980s — who experimented with appropriated imagery and photographic resources while critics challenged the relevance of their medium — offer a fruitful comparison.

Taking the forms of videos, a colored fabric installation, a rope and rock assemblage, charred and dyed fur, and alchemical experiments on canvas and the gallery floor, these artists luxuriate in materiality while challenging the medium specificity of painting.

She is now focusing on painting in abstract expressionism & realism, while experimenting in woodworking.

While Katz has experimented with collage and printmaking, it is for his distinctive painting style, which pre-empted the birth of Pop Art, that he is best known.

His paintings are highly - coveted, his work is notoriously complex, yet the illustrated joke paintings embody some of the most radical experiments of contemporary art, all the while eliciting a wry smile.

In subsequent Ambienti spaziali made between 1961 and 1968, Fontana continues to experiment with empty rooms and light as a medium to generate space, introducing the use of innovative materials and techniques — such as neon, light, fluorescent paint, acrylic mirrors, rubber floors, and metallic wallpapers — while also experimenting with forms of instability, testing the spectator's sense of balance and perception, thus anticipating the revolutionary Space and Light research of the 1970s in the US.

And while Roy Lichtenstein's Look Mickey (1961), his near - faithful reproduction of a Mickey Mouse and Donald Duck cartoon strip, was basically formalist commentary (produced as Lichtenstein had grown weary of the spiritual grandstanding of Abstract Expressionism), and from our contemporary list of artists, Housley's repeated use of the Snoopy and Woodstock motifs are receptacles for the artist's process - based experiments in the possibilities of paint; many of the artists working with toons seem to be engaging in the opposing struggle to pull the characters out of their own pictorial world and into our own.

Featuring paintings from the collection of the Solomon R. Guggenheim Museum by artists such as Constantin Brancusi, Marc Chagall, Marcel Duchamp, Vasily Kandinsky, Fernand Leger, Henri Matisse, Amedeo Modigliani, Piet Mondrian and Pablo Picasso, among others, the exhibition chronologically traced the achievements of these tumultuous years as artists experimented with new ways to create art while launching such movements as expressionism, futurism and cubism.

While 20th century experiments with the effects of pure color — particularly Color Field painting and abstract expressionism — often relied upon immersive force and the use of large canvases to envelop the viewer's entire body, Amm's work elicits sustained acts of seeing and a more consciously analytical stance.

In his early Joke paintings, the artist experimented with layering pilfered cartoon illustrations and their pun - riddled, Freudian punchlines on canvas with a silkscreen while also inviting incidents of chance, dripping and other fragmentary evidence of his hand.

While the painting medium used by early century and modern masters is largely predictable, contemporary artists experiment with a wide range of mixed media.

While Imi Knoebel works on overcoming Malewitsch's black square in his overall work and conceptualizes the dispute of painting in space as a central point in his artistic oeuvre, Albers experiments with the effect of color and shape and the relationship between surface and line.

While John Chamberlain owed much of his fame to his sculptures, he experimented over the course of his career with a wide variety of media, from painting and drawing to monotyping, film, and above all photography.

A chronology of Syrian Expressionism, for example, is detailed in the paintings and drawings of Youssef Abdelke, Asaad Arabi, Asma Fayoumi, Safwan Dahoul, and Tammam Azzam, while influential experiments in abstraction are not only identified in the compositions of the late Moustafa Fathi but also in the canvases of Abdullah Murad and Thaier Helal.

Gamble's Vibraspace features paintings and collages that experiment with new modes of abstraction and distorted reality, while Levonian's Shake Out Your Cloth presents cut - paper animations, quilts, and watercolor drawings that transform everyday life into humorous narratives.

While the exhibition's ending represents a «return» to more traditional forms of painting, it captures not only the discoveries of earlier experiments, but also the tremendous opening - up of painting in the 1970s.

While still in school, Sultan grew dissatisfied with traditional methods of painting and began experimenting in technique, surface, and media, which eventually led him to use industrial tools and materials.

While best known for large - scale abstract paintings, Mehretu has experimented with prints since graduate school at the Rhode Island School of Design, where she was enrolled in the painting and printmaking program in the mid-1990s.

In Untitled, Mitchell experiments freely, in certain areas playing up the drip's effects while in others, painting it out.

Emerging at the height of the British Pop movement, his early practice emphasized the figure, while experimenting with expressive gestural applications of oil paint.

While Dzubas» early paintings evoked Paul Klee and the Surrealist works of William Baziotes, by 1949 he was experimenting with soaking paint into sheets of canvas.

Similarly, Castellani's canvases — stretched over nails — experiment with positive and negative space, and light and shadow, while Dadamaino's black - and - white «volumi,» paintings with gaping holes cut through them, grapple with volume through absence and voids.

In the 1970s he experimented with crosshatching designs in his painting - after the Norwegian expressionist Edvard Munch (1863 - 1944)- while in the 1980s he became more autobiographical (Racing Thoughts 1983, Whitney Museum) and also included numerous optical illusions in his works.