Sentences with phrase «faces painted white»

At the center of each is a main character or narrator played by Reid Kelley, who appears costumed, bewigged, and practically unrecognizable, her face painted white with features defined in black.

He's behind bars, close up on a video monitor, face painted white like a clown, eyes bulging, exhausting himself with song.

three naked nymphets lounge in various positions in front of a blazing fire, while a fourth in the foreground sits in her underwear with her legs open talking on the telephone, her face painted white and purple and her expression innocent, happy, and crazed.

Not exact matches

In a YouTube video he posted, Perce can be seen wearing a long fake beard, a white turban and green face paint, calling out provocative phrases like: «I am the prophet Mohammed!

No competing golfers were allowed to be present, but jammed into the flossy Painted Desert Room at the Desert Inn were 450 potential high spenders, plus Bob Hope, Bing Crosby, Phil Harris, Jimmie Durante and Joe E. Lewis, while red - faced, white - haired Walter Winchell kept a beady eye on the proceedings in his role as director of the Damon Runyon Cancer Fund for whose benefit the calcutta and tournament are held.

By removing the horns of the moose to slightly change the shape of the face, giving the entire body a coat of white paint, and enhancing it with soft white artificial fur you will be able to make a sweet sheep perfect for a neutral or minimalist nursery.

Your child can make these super cute Cat In The Hat sticks with cat face buttons, some red, white and black paint, some craft sticks and glue.

Gorgeous veneer of Walnut faces this baby dresser while the solid Walnut sides and top are painted a clear White for an attractive finish.

Always an outsider, then, and the often blank, white faces of the people in his paintings may represent a surprising distance between the workers and himself.

A sweet bunny face and a tail were painted on each egg with a white paint pen.

For my makeup tutorial COD Ghosts, I used white and black face paint, you have many brands out there which ever one rocks your boat, go for it.

I used Snazaroo white face paint mixed with a bit of makeup forever fuschia flash color.

Blue and green tv room features walls painted white, Benjamin Moore White Dove, lined with a denim blue roll arm sectional with silver nailheads lined with green basket weave pillows and a white lacquer top coffee table facing a green media cabinet painted Benjamin Moore Jade Green and flatscreewhite, Benjamin Moore White Dove, lined with a denim blue roll arm sectional with silver nailheads lined with green basket weave pillows and a white lacquer top coffee table facing a green media cabinet painted Benjamin Moore Jade Green and flatscreeWhite Dove, lined with a denim blue roll arm sectional with silver nailheads lined with green basket weave pillows and a white lacquer top coffee table facing a green media cabinet painted Benjamin Moore Jade Green and flatscreewhite lacquer top coffee table facing a green media cabinet painted Benjamin Moore Jade Green and flatscreen TV.

You can also use a lighter foundation or mix white face paint to achieve really pale skin.

To draw the teeth I used a small rounded brush and some white face paint.

And be willing enough to paint your face white.

Its most directly inspired by the Dia de los Muertos (hence the skulls) but I wanted to create the white with the bright colors like the skull face paint from the Day of the Dead.

I used this eyeshadow palette to create a smokey eye, and applied this white face paint using a flat foundation brush.

So yes, I'm basically a pair of white gloves and a painted face away from being in a mime costume (at least I'm set for Halloween!)

Strange images emerge from beneath the white paint: a stern - faced Christ in the throes of judgement; awed saints kneeling in admiration; the miserable damned being cast into the fires of hell.

@constantinesekeris nailed the final design for the movie but they did decide to keep my idea of the white face paint.

In the video Tessa Thompson (Valkyrie) is present, with some white face paint - could this be part of her look for her debut in Thor: Ragnarok?

When Wark proclaims that he's «always had trouble drawing nigger faces,» and so paints white men's faces on the bodies of black slaves, the poignancy of that movement, independent of its inherent poignancy, identifies Junebug as something like an allegory for the ways that we deny the things we can't escape.

By the time she paints her face white, having announced that England is her only husband and finally taking to the screen in full Queenly regalia, she's made us understand from exactly what sacrifices that sort of iconic self - confidence came.

Reluctant to take on a Padawan apprentice, he reconsiders when his life is saved by Ahsoka Tano, a headstrong young lady who, despite the orange skin, white face paint, and headdress, talks like a ditzy California girl.

Still, there's something about this couple on screen that kind of works, partly because Hawkins and Hawke are remarkable together, and partly because director Aisling Walsh and screenwriter Sherry White let them make much of small things: The looks on their faces, say, when she starts popping bright, cheerfully painted cards in with his bills, and a New York visitor offers to pay more for her card than for his fish.

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Black and white drawings interspersed with full color paintings depict the life and career of this Puerto Rican baseball player, and the struggles he bravely faced on and off the field.

You are free to alter your protagonist's name, gender, appearance and voice, with faces selected from an admittedly low number of presets and hair - styles, though there's a decent amount of tattoos, face paint and colours to differentiate your character from the typical JRPG dough - eyed hero or heroine, including abnormal skin tones like blue and green or freaky looking white eyes.

These pieces include a pair of paintings by Nak - Beom Kho, depicting closely cropped, chiseled male faces of mannequins, and black - and - white photographs of Nakamura's sculptural works such as Car Cover (1991), which show two forms that each resemble the shape of a car — one rounded and the other square - edged.

In 1970, he took a beautiful black - and - white photograph of his artist friend Michael Buthe — and then painted the face over with primary red, blue and yellow hues, a typically nose - thumbing gesture.

Despite this, one painting in particular is causing righteous furore: Dana Schutz's Open Casket (2016) crudely depicts the mutilated face of Emmett Till, a 14 - year - old African - American male brutally abducted and lynched by white supremacists in Mississippi on 28 August 1955, whose murderers were all acquitted.

So does the less than friendly stereotype painted on a fountain's inner surface, such as booze for a Native American and the threatening face, at least to white eyes, of a black.

Historians have argued that the work stands as a precedent both for the artist's own performances in the 1960s and for the explosion of performative work in that decade.20 Paul Schimmel astutely places Automobile Tire Print on a trajectory of performative works based on the notion of capturing an indexical trace, reaching back to Pollock's drip paintings, moving up through Rauschenberg's blueprints, and on to Piero Manzoni's Lineas (1959 — 61), Paul McCarthy's video Face Painting — Floor, White Line (1972, fig. 5), and Ulay and Marina Abramovic's 1977 performance Relation in Movement, in which they drove a van in a circle for sixteen hours, leaving a circle of oil drips and tire marks on a public plaza in Paris.21

An unknown hand had covered each face with white paint and beady red eyes.

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

A bold, black - and - white 1952 Franz Kline faces across the room from Robert Motherwell's polyptych «The Blue Painting Lesson: A Study in Painterly Logic (# 1 - 5),» from 1973.

Yet while all of the cities charted in these fragments are identifiable, the collaged pieces act as an abstracted gridded backdrop for the painted white circle at the work's center, a simple yet enigmatic form that suggests a face, a cloud, or a moon over a landscape.

LOS ANGELES — Michael Govan stood in a third - floor gallery scattered with paintings and crates at the Los Angeles County Museum of Art, his arms gesturing at blank white walls, his face furled in thought.

The resulting voids, which show through to the pristine white of the gallery walls, correspond to the faces of figures in Pietro Longhi's «Sala Longhi» 18th - century painting cycle.

The white pew facing Bridget Riley's Cascando (2015) in David Zwirner's rear gallery for the current exhibition of her recent paintings at Zwirner's London space, by contrast, feels more like a dare — a challenge to the sensorium.

Selected Group Exhibitions — Invitational & Juried: 2010 «Best in Show» Taubman Art Museum, Roanoke, VA 2010 «11th Annual Juried Show» Nelson Gallery, Lexington, VA 2010 «Bath County Art Show» Hot Springs, VA 2010 «Art with a Twist» Logan Gallery, Roanoke, VA 2010 «Paintings from Provence» Westlake Library, Moneta, VA 2010 «The Painted Garden» Beach Gallery, Virginia Beach, VA 2010 «Best in Show» Taubman Art Museum, Roanoke, VA 2008 Westlake Library, Smith Mountain Lake, Moneta, VA 2008 «Chica's Choice» North Gallery PVCC, Charlottesville, VA 2008 «Paint Lexington» Nelson Gallery, Lexington, VA 2008 «Bath County Art Show» Hot Springs, VA 2008 «Academy of Fine Arts Juried Art Exhibition» Lynchburg, VA 2007 «Pictorial Strategies» Andrews Gallery, W&M Univ., Williamsburg, VA 2006 — 2007 «Facets of Perception» Zeuxis traveling exhibition 2005 «The Black & White Show» Nelson Fine Arts Gallery, Lexington, VA 2005 «Bath County Art Show» Warm Springs, VA (H.M) 2005 «Mountains and Rivers» Warm Springs Galley, Warm Springs, VA 2005 «7 Views» Riverviews Artspace, Lynchburg, VA 2005 «Faces of the Fallen» Arlington National Cemetery, Washington DC 2005 «32nd Annual Juried Competition» Masur Museum of Art, Monroe, LA 2004 «Within Our Borders - The Virginia Landscape» Hermitage Foundation, Norfolk, VA 2004 «Past, Present, Future» Academy of Fine Arts, Lynchburg, VA 2004 «George Nick Selects» Concord Art Association, Concord, MA 2003 «Sense of Place» Art Museum of Western Virginia, Roanoke, VA 2003 «Bath County Art Show» Warm Springs, VA (Best in Show) 2003 «Light & Landscapes - Reflections of Italy» Wayne Art Center, Wayne, PA 2002 «Art Educators of Virginia» Jefferson Center Gallery, Roanoke, VA 2002 «3rd Annual Juried Art Show» Nelson Fine Arts Gallery, Lexington, VA 2002 «Plein - air Revisited» W&M Andrews Gallery, Williamsburg, VA 2002 «Larger than Life» Jefferson Center Gallery, Roanoke, VA 2002 «Bath County Art Show» Warm Springs, VA (H.M) 2002 «The Mountain Lake Hotel Workshop Exhibit» Lynchburg Fine Arts Center, VA 2002 «The Mountain Lake Hotel Workshop Exhibit» Jefferson Center, Roanoke, VA 2002 «Open Studio Tour» Roanoke, VA 2002 «Roanoke City Art Show» Roanoke, VA 2002 «Lynchburg Area Juried Art Show» Lynchburg, VA 2002 Staunton Augusta Fine Art Center, Staunton, VA 2002 «Artemis - Winter Lights» Roanoke, VA 2002 «Artists & Their Studios» Jefferson Center, Roanoke, VA 2002 «Since September 11, 2001» Jefferson Center, Roanoke, VA 2001 «Lynchburg Area Juried Show» Lynchburg Fine Arts Center, Lynchburg, VA 2001 «George Nick Selects» Concord Art Association, Concord, MA 2000 «Roanoke College Biennia», Roanoke College, Salem, VA 2000 «The Summer Show» Gross McCleaf Gallery,, Philadelphia, PA 2000 «Jane Piper & Philadelphia Colorists» State Museum of Pa, Harrisburg, PA 2000 «Landscape in Virginia» Va..

In Lute Music to a Heathen (2016), she paints a portrait of a black man seated facing sideways, looking away from his viewer; the sitter is dressed in black sleeveless t - shirt and trousers accentuated with a white belt, one hand tucked into his trouser as another holds up a small bird against a monochrome harlequin background.

Where Close makes paintings that are nearly all face, John Coplans, who died last August at 83, detailed his aging flesh in headless, black - and - white self - portrait photographs that also function as formal abstractions.

John Martin's hellish painting of the destruction of Pompeii and Herculaneum faces off against a peaceful idyllic ruin by John Constable, and in between these two looms an ominous black and white photograph of a towering Nazi bunker on the Normandy coast.

Beverly McIver's paintings are a voyage in self - revelation from her earlier self - portraits in white face (the clown) to black face (confronting the black stereotype); to more recently, the unmasking of her skin, body and feelings as she explores her identity as an artist and as an African American.

It also indicates Kline's interests in tonal range, even where that range is superimposed, as on Nijinsky's made - up face, which is painted in white in Large Clown, with some wrinkles of worry and cheekbones of hunger in black.