Sentences with phrase «finally painting work»

Not exact matches

I worked on this painting all day and finally completed it.

«The MTA is finally going to make the much - needed repairs and remedial work to alleviate the health issues that the peeling lead paint poses.

Massie adopted Mao as a kitten in Ashville, N.C., and the pet followed its now -32-year-old owner on moves to Athens, Ga., San Bernardino, Calif., and finally to Charlotte, N.C., where Massie is working toward earning a fine arts degree in painting at the University of North Carolina at Charlotte.

I was able to finally break in this Torn by Ronny Kobo sweater for brunch in Logan Square with my dear friend Blair (who is now selling gorgeous paintings, you have to check out her work) and I already know it's going to be a cold weather staple for me.

When I was finally finished with all the repairs, we got to work on the paint.

Finally, for those wondering about the «nude image» mentioned in the MPAA's rating descriptor, it refers to a fascination young Jane has for a painting of a reclining nude woman (the work of art is seen in close - up).

Part of this is it's still been so long since I've painted, and part of it is that until I finally see it in one piece as a cover, with all the typography and everything, I won't really know if the image I have in mind will actually work as a cover or if it's too busy.

LA street artist, Robert Vargas has been painting the 250 foot mural of the legendary skateboarder for the past six weeks and his work will finally be made public at the event.

RD: There were other objects that, as I worked with painting and it wouldn't work and I'd make alterations and adjustments, and finally I'd realize, «That bloody thing has to just leave!»

Painting works with time and through time, it stalls a moment and can be left lingering within the artist's for a prolonged period of time before it is finally realized.

After a long absence following his last solo show at Paula Cooper (in 1977), Van Buren's work finally began filtering back into public view in New York about 10 years ago, first at small venues such as Mitchell Algus Gallery and Sideshow, and in the revelatory exhibition 2007 traveling exhibition «High Times Hard Times: New York Painting 1965 - 1975.»

Finally providing the emotional bookends to this exhibition are two works: Hydrangeas and Blue Vase, 2012 and Little Black Skull Painting, 2012.

Ms. Siegel's organization of the show proposes that painting progressed from stretched, rectangular canvases to loosey - goosey off - the - stretcher works and back, culminating in stretched paintings by Elizabeth Murray, Pat Steir and Ron Gorchov, and finally in an unusually incoherent work by Joan Snyder.

His early work passed though the styles of impressionism, Orphism, Dada, Surealism, and verbal and visual collagel his later art extended from composition that superimpose linear painted figures upon one another (and, sometimes, several of those on apinted ground), to painting based on pinup nudes and commercial illustrations and, finally, to coarse, heavily textured canvases that depict totems, masks and shields.

His latest group of paintings incorporates images and ideas derived from shopping mall interiors; Walmart interiors; Caribbean beaches; women's dresses; renderings from paintings by Giotto, Masaccio, Enguerrand Quarton, and Fra Angelico; and finally, segments from his previous work.

Finally, two works entitled Projection Painting I and Projection Painting II both present an animated, fractured landscape behind a large glass surface; upon each landscape, its own video projection plays out across a set of painted, undulating planes.

It used to be crammed with decades of unsold paintings, but now that she can finally afford storage space, the only work present on a recent visit was her new series of fluorescent black - light paintings of testicle - headed Donald Trumps and vagina - faced Hillary Clintons, which are now on view at the Drawing Center in downtown Manhattan.

Af Klint is now finally credited with making the first non-objective painting in the Western fine - art tradition, and it is both her grand imagination and sense of purpose, and the idea of how histories are and can be constantly re-written, that has informed and inspired McElheny's new works.

It includes the following: a series of five etchings realised with master printer Gregory Burnet in New York (Untitled, 2013), an ensemble of 16 works on paper (Mind Breath Drawings, graphite, 2012) and finally a mixed group of 11 drawings and paintings on canvases (all untitled, in graphite, acrylic and, except for three, ink, 2012).

Picabia outmaneuvered much of Surrealism in works like Untitled (Spanish Woman and Lamb of the Apocalypse)(1927), from his Transparenices series of paintings that takes him through the 1930s, then into the unapologetic kitsch «realism» of Spring (c. 1942 - 43), and, finally, to the anything - but - pure «abstraction» of what would become his last works, paintings like Selfishness (1950) and the aptly - titled Salary Is the Reason for Work (1949).

Just before she packed up her canvases to send to Chicago, Packer invited Observer into her studio to talk about her latest works, finding strength in vulnerability, and how she knows when a painting is finally finished.

When Donald Judd very reluctantly abandoned painting in 1961 - 62 in favor of working in three dimensions, it was because he had finally concluded that a philosophically tenable painting was not possible — philosophically in the empirical - perceptual sense of being entirely available visually, and tenable in the sense of being free of abstraction or any other kind of representation.

Working on the background middle, and foreground, then adding reflections in the water, and finally completing the painting by adding the strong details to the riverbank.

The works in this exhibition range from the colourful and glittering portraits of fashionable aristocrats, to religious altarpieces and finally to more sober and insightful paintings created towards the end of his life.

The Brooklyn - based artist's process for making her black - and - white films involves shooting imagery on Super-8 and 16 mm film — as well as digital and mobile phone platforms — which she then manipulates and projects onto paintings before finally screening and reshooting works to abstract ends.

Finally, he applies as many as 40 layers of acrylic paints to create the final work.

I'll start it on paper, then maybe it'll be a small painting, and finally it ends up as a larger work.

Hofmann made works of astonishing variety, crossing the boundaries between allusion and invention, reference and abstraction, in paintings ranging from the broadly invoked interiors, still lifes, and landscapes of his first American years, to eerie surrealizing «creatures,» minimal geometric abstractions, and finally, the bold confrontations of pulsating rectangles of thick paint — the acclaimed «Slabs» — and the orchestrations of free - floating, varied painterly gestures that characterized his last years.

The artist often disappears, sometimes literally, whether avoiding a spotlight in a film of an early performance, or finally in absenting himself from the production of his art works altogether - his later paintings were carried out entirely by assistants.

«Amikam Toren Finally Able to Live By His Art» San Francisco Chronicle Written by Kenneth Baker December 11, 2013 Full review here Sitting in his small, bleak, unheated studio in the East London borough of Tower Hamlets, Amikam Toren explained the personal background to his paintings and cardboard box constructions in» «Of the Times» and Other Historic Works» — his first show in America — which opened recently at the Jessica Silverman Gallery in San Francisco....

I was no longer attached to that work and I think that little painting was, finally, just painting.

The 2010 exhibition «Ugo Rondinone — The Night of Lead» finally ends this long hiatus, with the Aargauer Kunsthaus serving as the venue for a comprehensive solo exhibition that includes large - scale sculptural works and paintings as well as audio and video pieces.

Neel worked in obscurity for most of her career, painting a range of locals from salesmen to the homeless, but during the last two decades of her life, she finally gained recognition, receiving many honors and awards.

This class will take participants through the entire process of creating a strong landscape painting: from building an effective composition to working with value and color and, finally, to finishing with sensitively chosen details.

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.

And when, finally, I dare bring up the subject of Gauguin once again, he starts to talk about Red Boat (Imaginary Boys), a picture from 2004, and how comparisons between that painting and Gauguin's work had prompted him recently to take up the subject once more.

Beginning with his earliest work, Diebenkorn sustained virtuosity in not one, but many different styles, from the gestural Abstract Expressionist paintings of his Sausalito, Albuquerque and Berkeley series, to the Bay Area Figurative movement, and finally, the consummate splendor of Ocean Park.

I finally decided to show my watercolor paintings as a way to express variety and versatility in my work.

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.

Time enters this work through the very process of painting, with multiple decisions, a layering of scraped and repainted passages, compounding across their surfaces like maps of their own making, before finally settling into something like a stop along the way, a welcome place where we can rest and draw a breathe before resuming the path.

On view are iconic works from key moments of his career, from his student days in the 1960s to the present, including his large - scale double portraits of the celebrity friends of his youth; the collaged Polaroids through which he examined new possibilities within Cubism as well as the artistic use of photography; his later forays into painting the landscape on location in his native Yorkshire; and finally, his experimental works using iPad apps.

Finally, the third room consists of an installation made of various existing works including some notebooks with drawings Cahn has never shown, alongside some of her latest paintings and photographs.

Finally, Wackers who works in New York, put his special type of still life painting on display along with an interesting move into ceramic works (see above).

, ArtPharmacy (Blog), June 12 Elisa della Barba, «What I loved about Venice Biennale 2013», Swide, June 2 Juliette Soulez, «Le Future Generation Art Prize remis a Venise», Blouin Artinfo, May 31 Charlotte Higgins, «Venice Biennale Diary: dancing strippers and inflatable targets», The Guardian On Culture Blog, May 31 Vincenzo Latronico, «Il Palazzo Enciclopedico», Art Agenda, May 31 Marcus Field, «The Venice Biennale preview: Let the art games commence», The Independent, May 18 Joost Vandebrug, «Lynette Yiadom - Boakye», L'Uomo Vogue, No. 441, May / June «Lucy Mayes, «Lynette Yiadom - Boakye», a Ruskin Magazine, Vol.3, pp. 38 - 39 Rebecca Jagoe, «Lynette Yiadom - Boakye: Portraits Without a Subject», The Culture Trip, May Lynette Yiadom - Boakye, «Lynette Yiadom - Boakye on Walter Richard Sickert's Miss Gwen Ffrangcon - Davies as Isabella of France (1932)», Tate etc., Issue 28, Summer, p. 83 «Turner Prize - nominated Brit has art at Utah museum», Standard Examiner, May 1 Matilda Battersby, «Imaginary portrait painter Lynette Yiadom - Boakye becomes first black woman shortlisted for Turner Prize 2013», The Independent, April 25 Nick Clark, «David Shrigley's fine line between art and fun nominated for Turner Prize», The Independent, April 25 Charlotte Higgins, «Turner prize 2013: a shortlist strong on wit and charm», guardian.co.uk April 25 Charlotte Higgins, «Turner prize 2013 shortlist takes a mischievous turn», guardian.co.uk, April 25 Adrian Searle, «Turner prize 2013 shortlist: Tino Sehgal dances to the fore», guardian.co.uk, April 25 Allan Kozinn, «Four Artists Named as Finalists for Britain's Turner Prize», The New York Times, April 25 Coline Milliard, «A Crop of Many Firsts: 2013 Turner Prize Shortlist Announced», Artinfo, April 25 Sam Phillips, «Former RA Schools student nominated for Turner Prize», RA Blog, April 25 «Turner Prize Shortlist 2013», artlyst, April 25 «Turner Prize Nominations Announced: David Shrigley, Tino Sehgal, Lynette Yiadom - Boakye and Laure Prouvost Up For Award», Huffpost Arts & Culture, April 25 Hannah Furness, «Turner Prize 2013: a dead dog, headless drummers and the first «live encounter» entry», Telegraph, April 25 Hannah Furness, «Turner Prize 2013: The public will question whether this is art, judge admits», Telegraph, April 25 Julia Halperin, «Turner Prize shortlist announced», The Art Newspaper, April 25 Brian Ferguson, «Turner Prize nomination for David Shrigley», Scotsman.com, April 25 «Former Falmouth University student shortlisted for Turner Prize», The Cornishman, April 29 «Trickfilme und der Geschmack der Sonne», Spiegel Online, April 25 Dominique Poiret, «La Francaise Laure Prouvost en lice pour le Turner Prize», Liberation, April 26 Louise Jury, «Turner Prize: black humour artist David Shrigley is finally taken seriously by judges», London Evening Standard, April 25 «Turner Prize 2013: See nominees» work including dead dog, grave shopping list and even some paintings», Mirror, April 25 Henry Muttisse, «It's the Turner demise», The Sun, April 25 «Imaginary portrait painter up for Turner Prize», BBC News, April 25 Farah Nayeri, «Tate's Crowd Artist Sehgal Shortlisted for Turner Prize», Bloomberg Businessweek, April 25 «Turner Prize finalists mix humour and whimsy», CBC News, April 25 Richard Moss, «Turner Prize 2013 shortlist revealed for Derry - Londonderry», Culture24, April 25 «David Shrigley makes 2013 Turner Prize shortlist», Design Week, April 25 «The Future Generation Art Prize@Venice 2013», e-flux.com, April 21 Skye Sherwin, «Lynette Yiadom - Boakye», The Guardian Guide, March 2 - 8, p. 36 Amie Tullius, «Seasoned by Whitney Tassie», 15 Bytes, March «ARTINFO UK's Top 3 Exhibitions Opening This Week, ARTINFO.com, February 25 Orlando Reade, «Whose Oyster Is This World?»

While drawing on the achievements of Giotto, Cézanne, the metaphysical painters and the Cubists, Morandi's work finally resembles no one else's and quietly defies paraphrase: everything is enigmatically clarified in the work itself, in all its apparent simplicity, on terms entirely specific to the artist's compositional gifts, in which respect he might almost be the Erik Satie of painting.

The poet Susan Baran and I finally had the chance to work together to create «Pairings», a small magazine of coordinated images (drawings and paintings) and poetry we made for the 3rd Annual Zine Fair at Ille Arts in Amagansett.

The late visionary Kirk Varnedoe, former curator of painting and sculpture at the Modern, wrote me a letter in 1990, saying that he hoped that when the Modern finally got more space, many stored works in the permanent collection would be re-hung.

From Heilmann's and Davidson's personal and quirky approaches, to Davie's sculptural undulations, Schifano's reductive vocabulary, Owens» and van Genderen's investigations of space, and, finally, Levine's sentimentally wise paintings, the work in this exhibit addresses ideas of pleasure for both the artist making the work and viewer beholding it.

The show itself echoes the progression — from the artist's moiré paintings to a series of loom - inspired binary punch card pieces, and finally to works that address digital platforms as today's image - making tools.

Complex underlying structures caused the canvases to bulge or reach out along the wall or into the room; a sequence of 12, gradually changing forms was based on the pages of a calendar from which successive pages had been torn; and finally, in work from 1972, the architectonic quality of the paintings was discarded in his Kite Paintings, in which unstretched, painted canvases were suspended from rods and interrupted by cords and threads hanging off and passing thropaintings was discarded in his Kite Paintings, in which unstretched, painted canvases were suspended from rods and interrupted by cords and threads hanging off and passing throPaintings, in which unstretched, painted canvases were suspended from rods and interrupted by cords and threads hanging off and passing through them.