Sentences with phrase «form out of painting»

He tried to make a public art form out of painting.

Not exact matches

While he does show nice form on his free throws, I'm not sure he'll do well enough from long range to compensate for being out of position outside the paint.

The spray - painted artwork depicts a child holding a spray can out of which explodes wonder and wildlife in the form of shocking colors, dinosaurs, and prehistoric birds.

This has always been a great lesson - students do not know that photography is a baby in terms of art forms at 200 years old and they are really interested in looking at the images to work out why these paintings are so different before and after the invention of photography.

What Is the What (2006) explored, in novel form, the ordeals of Valentino Achak Deng, a Sudanese «lost boy,» and now Eggers chronicles, as nonfiction, the tribulations of Abdulrahman Zeitoun, a Syrian American painting contractor who decides to ride out Hurricane Katrina in New Orleans.

Outside of that are smaller titles like INKS, which turns pinball into a form of painting, and KAMI (2013), a puzzle game made out of origami squares.

She further develops the complexity of her compositions by adding oil painted motifs that mimic her original marks, saturating portions of the fabric with pools of solid color, and interrupting the surface of the canvas by cutting out sections to create mysteriously dark breaks in its form.»

With this concept in mind, Zenzine was born out of the desire to show these physical collages and paintings in an equally tactile but still unassuming form: a printed zine.

The forms in her painting elbowed out a slight amount of three - dimensional room around themselves, both spacially and conceptually.

In all of the works, the articulation of each form — whether a paint - streaked surface or carefully cut out paper — describes a particular phenomena of time and motion, while giving concreteness and permanence to fleeting traces of human action.

greg is especially inspired by the idea of having multiple windows open on a computer at once: through his process, he cuts out pieces and uses the computer to draw new forms, then assembles them into paintings that act like sculpture.

Freud's adherence to realism and focus on the human figure, when abstraction and other progressive forms of practice were more prolific, moved him in and out of the spotlight until the 1980's when renewed international interest in painting and figuration gave his work a new significance.

Appel's new series of paintings begin as primary arrangements: cut - out paper forms referencing the portholes of Jean Prouvé's Maison Tropicale are combined with Appel's own photographs of fragments of his previous works, landscapes, and images of Paolo Soleri's Arcosanti.

It wasn't until the mid-1980s that Mueller emerged with a distinctive style in which thinned - out acrylic paint is used to create soft, glowing, loosely geometric stained grounds (reminiscent of Rothko's «multiform» paintings) that Mueller then defaces with pigment - thick gestural forms that have a Baroque grotesquerie about them.

This marriage of the abstract and the socio - political is most evident in her third large painting, «Melting Down,» in which the forms of the painting itself seem to be pulled down, constricted to a point of release that expresses itself in appearing as the painting's entrails poured out onto the floor.

The objectness of the shaped paintings from this period makes them always more than the working out of abstracted, biomorphic or geometric forms on a flat surface, since the form of the support itself is a biomorphic or geometric abstraction.

See, in Denim Dress, how the tranquil American iconography of girl - sprawled - out - in - field jumps the frame when you realise the girl is a boy; and in Junction 2015, how the mythic forms and long shadows of the American west are worked into surreal compositions that speak as poignantly of human longing as has any sculpture or painting.

And he creates a landscape painting out of roofer's tar, mopping the viscous black material onto yellow Naugahyde to form a vibrant sunset.

If a viewer has a working knowledge of maritime flags or, as in my case, an index of their meanings, then Mizù's geometric forms become more than visually pleasing shapes, as the painting actually spells out the title of the work.

That artists continue to pursue the process of working with spaces outside the bounds of the classic painting — «opting out of the painting,» as Laszlo Glozer observed about twentieth - century art — shows the explosive force of this groundbreaking art form.

In figurative paintings brimming with crisp, flat forms and bold outlines (evoking sign painting as well as the works of John Wesley), Keogh portrays headless female bodies that have been bisected at the waist, an empty suit of armor, and flowery vines that weave in and out of swords.

This drawn - out process is contrasted with the almost instantaneous character of other pieces — a sudden splash of paint across an unprepared canvas — forming a body of work that, as a whole, is as lively as it is considered.

Some artists and dealers were tired of abstraction; they wanted to paint people and nature, tell stories, or try out crazy new forms that had merged in art and theater.

Emerging out of the booming 1970s Los Angeles art scene, Arnoldi's paintings are experimentations in color, form and structure.

I love her work, she must get that all the time: «Oh, there's a penis...» I love it when someone points out a panda head in the form of a mountain in one of my paintings; it can ruin it for me at times, but when I do see it myself, I usually keep quiet about it!

Neel's paintings grew out of the Social Realist concerns of American Art of the 1920s and 1930s, during which time she formed her highly personal brand of figuration.

As you may already know, Helen Frankenthaler was a pioneer of another technique called Color Fielding — a form of non-objective painting, that allowed for thinned - out oil or acrylic pigment to be applied, often times poured and spread, directly onto the unprimed canvas.

Had it brought out the heart of painting all along, in light and form?

John is like a magician, transforming gestural sweeps and scribbles of paint and conjuring out of them the human form.

Frankenthaler, Louis and Noland formed the core of a group known as the colour field painters, though the critic Clement Greenberg preferred one of his own clunking coinages, «post-painterly abstractionists», meaning that after the «painterly» surfaces of the abstract expressionists, the purely colour - based paintings of Noland and the others marked out a different and more advanced stage of art's march to absolute abstraction.

One of the most critically acclaimed artists of the 1970s, Jennifer Bartlett developed a signature grid - based approach to creating monumental modular paintings — often built out of graph - paper - gridded steel - and - enamel plates that she would then compose on in enamel — that achieved The Clock - like success in the form of Rhapsody, a nearly 1,000 - plate piece that debuted at Paula Cooper in 1976.

There is no need to pre-define their characteristics because these reveal themselves innately.The layering of painterly thought is an art form that attracts artists who start with an idea and accept that it will not be carried out as planned because unforeseen changes — some radical, some subtle — will smuggle themselves into the making.Overall, Kahn's paintings became much more complex.

Her concern is for the component materials from which art, particularly painting, is made, and her explorations have teased out the hidden ideological and political repercussions of those materials and the forms they take.

This is an exit out of the picture, but the language of the painting forms a ligament to the edifice, connecting the pictorial, conceptual, and physical spaces through the established language of color and form in the painting.

De Staël is the best example of what I mean; Robert Medley was simplifying form and moving in and out of abstraction — he loved Guston's still - life paintings; Nicholson and Scott were also concerned with that particular balancing act.

Group Island Press: Recent Prints, Mildred Lane Kemper Art Museum, St. Louis, MO, 2018 Thinking Through Art, Middlebury College Museum of Art, Middlebury, VT, 2018 Sunrise, Sunset, Emerson Dorsch Gallery, Miami, FL, 2017 The Unhomely, Denny Gallery, New York, NY, 2017 Women Painting, Miami Dade College, Kendall Gallery, Miami, FL, 2017 New Faces, Different Places, Central Features Contemporary Art, Albuquerque, NM 2017 The Home Show, form & concept, Santa Fe, NM, 2016 Girls Who Dance in Dissonance, Wayside, Los Angeles, CA, 2016 Surface Area: Selections from the Permanent Collection, Studio Museum in Harlem, New York, NY, 2016 Self - Proliferation, Girls» Club, curated by Micaela Giovannotti, Fort Lauderdale, FL, 2016 Faces and Vases, Royal NoneSuch Gallery, Oakland, CA, 2016 Visions Into Infinite Archives, SOMArts Cultural Center, curated by Black Salt Collective, San Francisco, CA, 2016 Summer Art Faculty Exhibition, Schick Art Gallery, Skidmore College, Saratoga Springs, NY, 2015 Paula Wilson & Jovencio de la Paz, Saugatuck Center for the Arts, Saugatuck, MI, 2015 Perception Isn't Always Reality, Kranzberg Arts Center, St. Louis, MO, 2015 DRAW: Mapping Madness, Inside — Out Art Museum, curated by Tomas Vu, Beijing, China, 2014 - 2015 Lake Effect, Saugatuck Center for the Arts, curated by Mike Andrews, Saugatuck, MI, 2014 I Am The Magic Hand, Sikkema Jenkins & Co, Organized by Josephine Halvorson, New York, NY, 2013 Sanctify, Vincent Price Museum, Los Angeles, CA, 2013 The Bearden Project, Studio Museum in Harlem, New York, NY, 2012 Configured, Benrimon Contemporary, Curated By Teka Selman, New York, NY 2012 Art by Choice, Mississippi Museum of Fine Art, Jackson, MS, 2011 The February Show, Ogilvy & Mather, New York, NY, 2011 Art on Paper: The 41st Exhibition, Weatherspoon Art Museum, Greensboro, NC, 2010 Defrosted: A Life of Walt Disney, Postmasters Gallery, New York, NY, 2010 41st Collectors Show, Arkansas Art Center, Little Rock, AK, 2009 - 2010 Carrizozo Artist's Show, Gallery 408, Carrizozo, NM, 2009 - 2010 While We Were Away, Sragow Gallery, New York, NY, 2009 A Decade of Contemporary American Printmaking: 1999 - 2009, Tsingha University, Beijing, China, 2009 Collected.

He continued, «Although Aliriza's extremely tactile paint application can remind one of the British painter Frank Auerbach, her brushwork is more fluid in the manner of de Kooning and her forms have a way of slipping in and out of abstraction.»

The diverse drawing, painting and printmaking of Nicole Eisenman, on display at Leo Koenig, Inc., offered a welcome variety, as the artist clearly seeks out whatever form fits her intent.

When he returned to New York in the 1950s, much of the work Kelly made, at first, as he found his way more fully into his own language, was in the form not of paintings but of drawings — works on paper in ink, pencil and gouache, which he created as a way of working out where he wanted to go on a larger scale.

In Li Trincere's trapezoidal and cruciate paintings, the simple forms are enhanced by the rich and glossy surfaces achieved by the application of multiple coats of acrylic or sparkly enamel paint; meanwhile Matthew Deleget's humorously nihilistic single - color paintings are nearly destroyed by hammering out the centers, leaving an irregular maw of colored shards and the wall surface behind the remains.

Charles Hinman drove the concept further by pushing the canvas out from the wall; his works were a form of hybrid between painting and sculpture.

Artist Statement on DEEPHORIZON: «The supreme discipline of art — oil painting — is back with a vengeance — in the form of an oil painting on a 80.000 square miles ocean canvas with 32 million litres of oil — a unique piece of art... It has been 13 days since a BP oil and gas exploration well blew out, setting fire to the drilling rig, which sank, killing 11 people.

Also part of the show is the tremendous Parrhesia («Freedom of Speech», 2010), a collection of seven roughly painted papier - mâché head - like forms mounted with spikes on plinths, a haunting reminder of our democratic duty to speak out the truth, as we see it.

Mr. de Looper, who worked out of a studio in his home at the St. Regis Apartments on California Street NW, painted large, often colorful works that were, in essence, experiments in color, form and texture.

Nevertheless, Stella has obliterated that form with this repetitive motion of these stripes, and this is quite a daring painting when we compare it to other works that he's exploring at this time, precisely because of its monochromatic color palette, this overwhelming impression that we get of him working with a single color, and trying to make a painting out of that single color.

She creates a personal and contemporary fiction within her works, bringing to light issues of race and representation throughout the history of traditional figurative painting: «My work is a form of tribute, analysis and intervention: tribute out of sincere admiration for the figurative tradition; analysis, by making something vast,» the role of race in the history of figurative painting «comprehensible to both myself and to my viewers; and intervention, by positioning a woman - of - color as primary picture - maker, in whose hands the figurative tradition is refashioned.»

I later branched out to painting and sculpture, and I combine all three together into a richness of color, texture and form, a unique and ever - expanding visual tapestry of mind and consciousness.

Abstracted womb - like forms open out beneath a relatively realistic moorland landscape — echoing both mining tunnels and the birth of Lanyon's first child — the brooding reds and blues given an incised, sculptural quality by the scraping away of wet paint with a razor, a technique learned from Nicholson.

Sarmento is well - known for his thickly impastoed, textured paintings where the paint field forms a ground from which he teases out his imagery in graphite, reversing the traditional basis of painting.

The doorway - sized canvases, which look out into the boundless western colored landscapes, create the illusion that we are experiencing the painting form of the John Ford movie, The Searchers, where the truth sits attainable...