Sentences with phrase «form under the paint»

It looks like rust that has begun to form under the paint or something failing with the clear coat.

Not exact matches

Jewish survivors of the Terezín ghetto in Czechoslovakia spoke of artists and musicians who continued their work under unimaginable circumstances — forming musical ensembles, copying books, creating paintings.

If you are getting painted, engraved, or shaped snaps please let me know under the special requests section of the form.

Meanwhile at the party headquarters of the far right Laos party, sitting under paintings of classical Greek scenes, vice-president Georgios Georgiou explains why they left the current governing coalition (formed under Lucas Papademos last November when the Papandreou government collapsed): «I suggested we leave the coalition... we said not to touch pensions and wages and to get rid of the two million illegal immigrants... you can not have Germans coming in sitting in ministries ordering ministers what to do.»

Cuomo formed the education reform commission last year as the engine to drive his promise to shake up the state's school system, which, in his 2012 State of the State address, he painted as excessively expensive, under - performing, and driven by interest groups.

Under the unit formed by the grille and headlights there is the fully painted bumper, which is designed as a cleanly sculpted surface.

What shocks us in part is the fact that it is a sculpture at all — it looks like an abstract painting created under the influence of, say, free - form jazz.

Plus: De Appel board of trustees resigns Virginia Museum of Contemporary Art under fire for «anti-Christian» painting BADA and ABA form closer ties and recommended reading

Here, DiBenedetto goes full William Baziotes — channeling the great under - sung Abstract Expressionist who specialized in fuzzy fields and mythological - like beings contained in fields of flushed color — and gives us great fiery paintings colonized by creatures and forms with effluvia, faces, feet, head dresses, and resemble oxidizing coral reefs of original vision, with little hints of curving helicopter blades and mollusk - like octopus legs.

It consisted of a massive 36 - foot - long canopy of wax - painted muslin forms suspended from a metal grid under the room's huge skylight.

Her sculptural forms and paintings are reflective of the natural environment — birds nests conceived as intricate sculptures, ant hills that resemble monumental pyramids, or viruses that under a microscope reveal complex illustrations.

In the larger paintings, Light under Two Blue Earth with Catapult and Blues 2 Untitled, this phenomenon, which Frecon describes as «a tension of double blues,» substitutes almost entirely for the presence of structurally differentiated forms.

The Automatiste movement gave way in the mid-1950s to a rigorous form of hard - edge abstraction first marked in the work of Leduc and the Plasticiens, a group that was formed in 1954 by the critic Rodolphe de Repentigny (who painted under the pseudonym Jauran) and 3 other painters; it first exhibited in 1955.

In Mountain Music, Under the Lemon Tree, and Wilderness, to name a few, floating, cloud - like clusters of thick paint give visual form and movement to the landscapes imagined in Pan's sensual abstractions.

Basquiat formed the band Gray, spread graffiti under the group alias SAMO ©, made TV appearances on a local cable access show popular among that crowd, and began painting and drawing with more focused effort.

The Neoclassicists, under Étienne - Jean Delécluze defended the classical ideal and preferred carefully finished form in paintings.

Using dark blues, bright whites, and occasionally high - key colors, the artist creates outstanding letter - like forms that push forward with a slight pulsation, especially depending on the quality of the light that illuminates it, while the painted field as a whole changes under different viewing conditions.

Also in 2004, an artist collective was formed that operates under the name of the fictional artist Reena Spaulings, creating collective paintings that are both reflective of the system and self - deprecating.

Referred to as «Shula» within his local environment of Kinshasa, Monsengo Shula (otherwise Jean - Bosco Monsengo) learnt under the guidance of Moke, a leading artist of the Kinshasa school of painting that was formed in the wake of Zaire's independence.

«The manipulation of form,» exhibition of the artist «108 ″ (drawings and paintings) proposed under BIEN URBAIN 2013.

115, No. 4 Bui, Phong «Artists to Artists», Volume 2, 25 Years of the Marie Walsh Sharpe Space Program Mason, Isabella «Katie Bell at Locust Projects, Miami», Blouin ArtInfo, Nov. 4th Kaiser - Schatzlein, Rob «Katie Bell's Miami Breakthrough», Two Coats of Paint, Sept. 23 Saltz, Jerry, «Never Has My Breath Been Taken Away Like It Was at Knockdown Center» Vulture, June 16 Final Fridays, Artist Interviews Podcast, Episode 17 2015 Namesake, «Namesakes: Katie Bell», Oct. 19 Montem Magazine, Issue # 5 (Tokyo, Japan) Pini, Gary, ’10 Must - See Art Shows Opening this Week», Paper Magazine, Sept. 23 Salama, Cecilia, «Artist Katie Bell Will Pull the Rug Out From Under You», Opening Ceremony Blog, Sept. 24 Johnson, Paddy, «This Weeks Must See Events: Butch Queens and Dykes in Brooklyn, Regular Queens Has Everything Else», Art F City, Sept 21 Butler, Sharon, «Revitalization by Contamination», Two Coats of Paint, Aug. 2 Mullis, Sidney, Maake Magazine, Featured Interview, Fall 2015 2014 BRIC Arts Media, «BRIC Biennial: Volume 1, Downtown Edition», Sept 20 (Exhibition Catalog) Steele, Marjorie, «Reconstructing History: Artists Create Community inside Site: Lab», The Rapidian, Sept. 21 Konau, Britta, «Gouge, Break, and Hammer», The Portland Phoenix, June 25 Eastabrooks, Erin, «The Home - Wrecker: Interview with Brooklyn Artist Katie Bell», SHK Magazine, May 19 Scott, Megan, «18 Under 37 ″, Knox Magazine, Spring 2014 Toomer, Helen, «How Art World Insiders Started Their Must - See Collections», Refinery 29, March 25 Galgiani, Allison, «Artist FlashCards: Why Katie Bell is Boss», Bushwick Daily, March 26 Kimball, Whitney, «Color Wheel: Katie Bell», Art F City, March 12 New American Paintings, # 110, Northeast Edition, March 2014 Bell, Katie, «IMG MGMT: Katie Bell, How We Met», Art F City, Jan 8 «The Form», Viewpoint Magazine UK, No. 33, p. 162-163 2013 Smyth, Cherry and Jost Münster, «Limber: Spatial Painting Practices», Sept. 13 (Exhibition catalog) Katz, Samantha, «Material», Gallery Glass, Episode17, Sept. 17 Steinhauer, Jillian, «Art Rx», Hyperallergic, Sept. 3 «Material», Time Out New York, August 27 Sculpture Center Tumblr, Featured Artist, «Katie Bell», April 22 Cole, Lori, «PAINT THINGS, Beyond the Stretcher», Critics» Picks, Art Forum, March 26 Johnson, Paddy, «8 Great Brooklyn Artists Under 30», The L Magazine, March 13 - 26, Vol.

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

It also addresses his position as a painter working within an international discourse, at a time when contemporary practice in his chosen media was coming under attack from both conservative forces and from the champions of more experimental art forms, giving rise to widespread predictions of «the death of painting».

Peeking and trying to look under things, peering at cuts, punctures, slices and slits form part of the pleasure of looking at Sinsel's paintings.

With the internet as his podium and round table, he has been historicizing and canonizing these artists, young and old, who have been creating art outside the norms of traditional graffiti, esoteric forms of painting and sculpture that veer outside of the proscribed boundaries into the experimental, the abstract, the poetic, and the hybrid.Artists that fall under the term Progressive Graffiti are generally innately gifted draftsmen, who aspire to a Master's Level at their craft.

A double sense of explosive fragmentation and re-constitution is evinced by the long piece of rough string in «Millefleur» (2012), which precariously clings to the canvas under a layer of tar - like black paint, forming the outline of a figure.

Through cross examination and closing argument, I painted a picture of my client as a man who had received his just desserts — in the form of crash that totalled his car — as a result of driving too fast on a slick highway, but who had not been proven beyond a reasonable doubt of driving under the influence of alcohol, where his head was clear but his body was wobbly from the startling event of this serious collision.

We executed the lead based paint form, disclosing that there was still lead based paint in the trim around the windows, and the home was under contract in 2 days regardless.

When I first applied the paint, the paper started to form bubbles under it, but as it dried, it sucked itself back down to the wall.