Sentences with phrase «from traditional canvas»

Then in the 80s, she diverts away from the traditional canvas and starts working with acrylic and linen.

She offers an exciting break from traditional canvases and creates a new approach to wall - mounted works by subverting the natural disposition of a shag rug — which she burns with acid, cuts up, and hangs.

Not exact matches

Shape the shoulder with a free - floating canvas panel called a shield, made from traditional, nonfusible hair canvas or hymo, and secured only at the roll line with hand stitches, as shown, and machine - stitched at the armhole seam allowance when the sleeve header is attached.

This beautifully framed canvas works well in every setting from rustic to modern to traditional.

Having set up a structured Span canvas, the two teachers were able to stand in front of the digital learning wall and watch, as during the Tuesday morning maths lesson, selected digital and traditional work was uploaded to the canvas from all classes.

Free morning At 13:45 pm A Guided Cusco City Tour, Excursion, visiting Koricancha «The Sun Temple» the golden Inca «s temple that impressed so much to the first spanish conquistadores when they arrived in 1534, Cusco main Cathedral with their exquisite canvas from the Cuzqueña Painting School, chapels, Virgins and Saints, Saqsayhuaman Inca Complex, where every year in June in the winter solstice in this hemisphere the young Cuzqueños perform the old and traditional Feast of the Sun «IntiRaymi» in honor to the Sun, then we visit Tambo Machay, Qenqo and Puca - Pucara.

Recognizing the potential energy in a traditional surface, Marcaccio tears the canvas away from the wall.

Conceived as an adjunct to painting in the earliest years of its development in the first decades of the 19th century, when many painters discovered how useful photographs could be in composing their canvases, photography quickly assumed an artistic presence and legitimacy of its own (albeit one that often still took its cues from traditional painterly modes of representation).

The remainder come from a mix of private and public collections, with the Whitney Museum of American Art lending one highlight: the 1958 canvas «Three Flags» done in encaustic — a traditional, wax - based medium that Mr. Johns used to create an uneven, almost rippling texture, underscoring the handmade nature of his flags.

A painting may begin in a traditional sense, with a few strokes on canvas, then become whitewashed, sanded, thrown on the ground to collect spills from another project, whitewashed again, and so on, up to at most 15 times before a surface is built, and the work is deemed finished.

Challenging the traditional form and, with that, the definition of painting, Sam Gilliam forgoes the practice of stretching his canvases, instead allowing them to drape, and Angel Otero builds works from skins of dried paint and shreds of canvas.

Alfonso Ossorio, known primarily for his later compositions of found gewgaws and the ever - present evil eye, also has a traditional oil on canvas action painting from 1955.

From his earliest days as an artist, Rauschenberg avidly explored and invented myriad ways of marking paper and canvas, using traditional tools such as paintbrushes, pencils, and woodcut blocks as well as highly unorthodox methods.

From traditional and non-traditional paintings on canvas, to sculpture, video and photogram collages, this body of work transcends historical perceptions of abstraction and challenges the boundaries of the genre.

With a playful title just one letter away from describing a traditional form of painting, Acrylic in Canvas reminds viewers how flexible borders between seemingly discrete categories can be.

From iconic silkscreen graphics to black light paintings, McGinness creates a hybrid of experience that move beyond the traditional canvas.

There are also his more traditional - seeming, good old oil - on - canvas compositions, that range from photorealistic to blurred, positioning his paintings as a repository of memory, unreliable in its nature, and indubitably mediated by the artist's subjectivity.

From the»40s on, American Abstract Expressionism dominated the Western art landscape and returned many artists» attention to the evocative formal qualities of paint on canvas and traditional sculptural materials — although the biggest figure associated with «Action Painting», Jackson Pollock, also stuck detritus including cigarette butts, coins, buttons, and keys onto the surfaces of his paintings.

With a range of traditional and nontraditional materials, including acrylic and oil paint, ceramic, paper, canvas, carpet, and larvae, as well as varying techniques — from painting, pouring, cutting to burning — the artists employ different degrees of chance, and some more than others.

These traditional mediums allow for contemplation that is detached from the sometimes unnerving canvas of human skin.

Combining elements from traditional European painting with global socio - political consciousness, the Iranian - American artist leaves mesmerizing marks on the canvas, building narratives on displacement, tragedy, and chaos.

Deriving from a traditional practice, Wang produces his Coffin paintings by working with his canvas resting flat on the studio floor, systematically applying layers of acrylic paint in alternating colors — at times monochromatic, at times colorful — resulting in a densely stratified surface.

After graduating from the U.K's Slade School of Fine Art in London in 2011, she found an eager audience for her painting - meets - sculpture environments, which often feature traditional canvases hung at unusual angles like her solo show, «Turner,» at the Northern Gallery for Contemporary Art in Sunderland, where most of the works adorned the floor of the Pepto - pink colored gallery.

They «broke free» from traditional painting methods (like keeping the canvas on an easel, or painting with traditional tools like brushes).

Heddaya writes: «From the outside, Weathersby's pieces straddle the clinical geometry of Op art and the organic architectural character of traditional room dividers and panels, like the Arab mashrabeya or the Japanese screen, and are unobtrusive, orderly, suggestive even of a painterly monasticism... Ken Weathersby is certainly not the first artist to have manipulated painting and denotation, or desecrated the ever - cooling corpse of canvas — the project has a distinctly vintage, Black Mountain College feel to it — but there is a focused and exploratory energy at work in his pieces, a maturity of purpose that stands at ascetic remove from the cloying color and sloppy corporeality that too often comes to the fore in Bushwick.&raFrom the outside, Weathersby's pieces straddle the clinical geometry of Op art and the organic architectural character of traditional room dividers and panels, like the Arab mashrabeya or the Japanese screen, and are unobtrusive, orderly, suggestive even of a painterly monasticism... Ken Weathersby is certainly not the first artist to have manipulated painting and denotation, or desecrated the ever - cooling corpse of canvas — the project has a distinctly vintage, Black Mountain College feel to it — but there is a focused and exploratory energy at work in his pieces, a maturity of purpose that stands at ascetic remove from the cloying color and sloppy corporeality that too often comes to the fore in Bushwick.&rafrom the cloying color and sloppy corporeality that too often comes to the fore in Bushwick.»

Text from Scott's recent exhibition at the Danforth Museum (MA) describes her work as «Influenced by the aesthetics of contemporary painting, as well as the thrifty and improvised nature of folk art, Susan Scott manipulates traditional painters» materials such as canvas, wood, staples and paint to create an elegant and quirky hybrid of painting and sculpture.»

Compound Flat 50, 52, 59, and 58 (subtitled Pink Dropout) are based on stacked double rectangles, suggesting open sash windows — or, again, stretcher bars — divested of their glass or canvas, with swaths of fabric (actually pigmented epoxy) inserted into the mechanisms, holding them in place, or together; the window idea is borrowed, of course, from traditional painting.

Ericsson constructs his work using traditional art materials such as canvas, bronze, photography, and clay as well as video, found objects, and artifacts taken from his family archives.

From 1970 onward, he developed several series in which he expanded the uniform picture plane, not only visually but also physically, by departing from the traditional flat format of the canFrom 1970 onward, he developed several series in which he expanded the uniform picture plane, not only visually but also physically, by departing from the traditional flat format of the canfrom the traditional flat format of the canvas.

Conforming to Greenberg's idea, Johns began to use the American flag and the map of the United States as subjects, while Rauschenberg made his canvas for «Bed» from a pieced quilt — a unique bit of traditional Americana.

Sam Gilliam's «After Micro W» 2» marks his departure from the standard, stretched canvas as he rids himself of the traditional confines of painting on a two - dimensional surface.

Shortly afterward, in 1968, a fortuitous accident in his studio led Gilliam to completely abandon traditional stretchers in his Drape series, radically subverting distinctions between painting and sculpture by suspending his bunched and folded canvases from the wall or ceiling.

The methods employed in the stitched canvases and computer - part collages that will comprise his exhibition, range from assemblage to traditional Ethiopian braiding.

Rather than starting with a blank canvas, Ryman repurposes materials from past works, creating geometric forms that mimic a traditional canvas.

She beat competition from the other shortlisted artists: Dexter Dalwood, whose contemporary take on traditional history painting saw him an early bookies» favourite; Angela de la Cruz, whose mangled, dishevelled canvases place her somewhere between painter and sculptor; and the Otolith Group, whose work, often in film, encompasses curating as well as creating.

Opening: «Bernard Frize: Dawn Comes Up So Young» at Galerie Perrotin French artist Bernard Frize exhibits two new suites of abstract paintings from the past year, along with an earlier group of non-representational canvases that evoke traditional Chinese landscape paintings.

Although Piper's early and student work made use of traditional fine art media such as paint and canvas (such as The Body Politic, 1983), [3] from the late 1980s he became primarily associated with technically innovative work that explored multi-media elements such as computer software, websites, tape / slide, sound and video within an installation - based practice.

Jaime Gili is a Venezuelan - born, London - based artist known for a painting practice that moves away from the strict, traditional boundaries of the canvas, and into the realm of public interventions.

While painting and printmaking remain central to their approach, over the past decade FAILE has adapted its signature mass culture - driven iconography to an array of materials and techniques, from wooden boxes and window pallets to more traditional canvas, prints, sculptures, stencils, installation, and prayer wheels.

Most photorealist painters work directly from photographs or digital computer images - either by using traditional grid techniques, or by projecting colour slide imagery onto the canvas.

She also shifted away from the traditional, oil - on - gesso - primed canvases used for past fruit paintings, to instead creating her favored motif in chalk over blackboard paint.

We begin the show with traditional large - sized canvases from around 1967 — 68.

The Brooklyn - based artist begins with patterns from traditional Persian carpets, which he paints on wall - mounted canvases with oil crayons and help from photographs he projects.

Pollock's unconventional methods — dripping, flinging and throwing paint onto an unstretched canvas on the floor — symbolized the degree to which artists could feel free to deviate from traditional approaches.

The everyday surfaces that surround us provide the canvas onto which the artist transposes elements from the vernacular of traditional urban design.

Fontana explained, «I make a hole in a canvas in order to leave behind the old pictorial formulae, the painting and the traditional view of art, and I escape, symbolically, but also materially, from -LSB-.....]

By refusing to adopt the «old values» of traditional art and asserting the flatness and objectivity of the canvas he was not rejecting completely the energetic brushstrokes of Abstract Expressionism, as is often suggested, but insisting on the development of the overall surface without relying on the illusionism that comes from the visual brushstrokes or the sense of depth that the inclusion of color might imply.

The raggedy talismans, made from canvas and nails and shirts and hair, resemble the abject cousins of the traditional totems, not so much imparting moral lessons but busking through gritty New York streets imparting frenzied and sometimes wildly intuitive tidbits.

In an effort to both accept and reject the formal, Elizabeth began to modify the actual shape of her canvases moving away from traditional pictorial space of a rectangle or square.

Her mission is to reduce everything in her painting to a zero state, free from mimicry and illusion and making the traditional support of a canvas redundant in the pursuit to create without limitation.