Sentences with phrase «hand painted mark»

Like Hofmann, Tétot relishes the hand painted mark, and is masterful at expressing depth by allowing contrasts between hues and tints to speak for themselves.

Not exact matches

At a major tasting marking the 50th anniversary of the wine region held at the venue late last year, my attention kept wandering again — this time the glass of chardonnay in my hand had to compete for my attention with the magnificent Emily Kame Kngwarreye painting on the wall.

Your toddler will love the feel of paint on their hands while creating paint marks.

Though sadly overshadowed by the overrated dynamic duo of Wall - e and Kung Fu Panda, this warm, familiar animated movie with stunning visuals and beautiful, hand - painted backgrounds doesn't only mark a successful return for Disney on the animated area, but manages to introduce characters and themes that are in many ways more deep and complex than that of the widely glorified Pixar flicks.

The situation is made even worse when Uri's painting is stolen by a junkie rock star named Johnny Quid (Tony Kebbell), prompting Cole to send his right - hand man Archie (Mark Strong) after Quid's former managers (Jeremy Piven and Chris Bridges) in order to track down the presumed dead RocknRolla.

PowerPoint presentation Hand print template that could be used in place of a messier painting activity A marking sticker for the activity (could also be printed on paper and glued in, if stickers are not available).

There is a new blue lacquered paint reminiscent of the company's first Plus 8 models and hand - painted yellow accents around the front grille, engine hood, and the «two» markings below the bumper.

Maybe this is the other side of the coin — spray paint is a distant, mechanical mark that you can hold in your hand, but the body print is a stamp of you with a mechanical feeling of remove.

My paintings are very pictorial, they are not just about marks, but on the other hand I am very invested in the meanings and associations of every mark on my paintings.

Lesley Heller Workspace, New York, NY Claxons (four - person exhibition, curated by Walter Robinson), Haunch of Venison, New York, NY Grey Area, New York, NY The Queen's Feathers (one - person exhibition), John Tevis Gallery, Paris France 2011 Peacocks and Bottles (one - person exhibition) Organized by Nana Kipiani in conjunction with Artisterium, National Gallery of Georgia, Tbilisi, Georgia Forever and Never, One More Time (two - person exhibition), Season, Seattle, WA Color Theory, Storefront, Brooklyn, NY 2010 Birdbaths and Birdhouses (one person exhibition), Le Petit Versailles, New York, NY The Visible Vagina, Francis M. Naumann Fine Art & David Nolan Gallery, New York, NY 2009 Modern & Contemporary Ceramics, A.M. Richard Fine Art, Brooklyn, NY Bazvalon (one person exhibition), Rose Burlingham Living Room Gallery, New York, NY 2007 Momenta Art (one person exhibition), Brooklyn, NY French Kiss, organized by Rob Wynne, JGM Galerie, Paris The Demoiselles Revisited, Francis M. Naumann Fine Art, New York, NY NADA Art Fair, Miami, FL (Momenta Art booth) 2006 The Studio Visit, Exit Art, New York, NY 2005 Picture Window, (site specific, city organized), Baltimore, Maryland 2004 Hall of Portraits, Pinkard Gallery, Maryland College Institute of Art, Baltimore, MD 2003 The Recurrent, Haunting Ghost, Francis M. Naumann Fine Art, New York, NY Sleight of Hand, Salena Gallery, Brooklyn Campus, Long Island University, Brooklyn, NY 2002 Kismet, The Work Space, New York, NY 2001 Bad Touch, Lump gallery / projects, Raleigh, NC (also traveled to Keith Talent Gallery, London, Rose Museum, Brandeis University, Boston, Space (1026, Philidelphia & UIMA, Chicago) Beautiful You, curated by Larry Krone, Mark Pasek Gallery, New York, NY Your Humble Servant the Genius (two person exhibition with Rob Wynne), Rupert Goldsworthy Gallery, New York, NY Nijinsky, Rupert Goldsworthy Gallery, New York, NY 1999 The Fin - de-Siécle Salon, curated by J. A. Poisson, P.S. 122, New York, NY 1998 Re: Duchamp (organized by Mike Bidlo), Abraham Lubelski Gallery, New York, NY Bowie, Rupert Goldsworthy Gallery, New York, NY 1997 Galerie du Tableau, Marseille, France (one person exhibition) The Whole World in a Small Painting, Trans Hudson Gallery, New York, NY 1996 Cadmium Cathode, Sauce, Brooklyn, NY

Her free use of paint and varied instruments of impression leaps off of one plane, bringing her marks into three - dimensional space through ceramics manipulated with a hand - glazing technique.

The dimensions of her five large paintings in this show, with compositions range from spare and minimal to the sprawling and dense, are determined by the artist's height and reach, and each varied mark reflects the dynamism of her hand in motion.

Bookended artistically and conceptually by two paintings, Mark Rothko's Untitled (1968) and Gerhard Richter's Abstract Painting (613 - 3)(1986), the exhibition charts the alternating appeal of gesture, authenticity, and self - expression, on the one hand, and irony, appropriation, self - effacement, on the other.

Economic in their mark making, her paintings exude a powerful hand and active mind.

Multiple layers of geometric and gestural marks are silkscreened and hand painted over these flattened images creating a rhythm within the painting while obfuscating the original subject matter.

I'm interested in women's work, in the handmade, in labor and craft, in introducing my body through the tactility of painting, through the process of looking at the movement / rhythm of the hand, which is different from mechanically produced marks.»

There is no evidence of painterly flare, nor mechanical precision - just very ordinary and pragmatic mark - making; an appearance which must consequentially be linked to Close's disabilities - he was paralysed from the neck down in 1989 and now paints using a hand brace.

In the large construction «Bound», a wide yellow line (both as painted mark and as collaged or free hanging dyed and hand painted muslin) traverses the entire field, stitching together disparate materials and creating a possible path for the eye, which never arrives at a static image.

Rather, one gets the sense, from these paintings, that Heidkamp let his hand follow his imagination, rendering a lone figure who has lost his shadow, a brushy odalisque at rest on the shore, or a set of abstract marks that telegraph a bright pink sunset.

Known for his candid portraits of his abstract expressionist friends like Willem de Kooning, Mark Rothko, Hans Hofmann, as well as his everyday photographs of memorable New York landmarks and street scenes, Burckhardt's photographs of hand - painted billboards are considered as magnanimous contributions to the New York art scene during the 1940s and 1950s.

Working in a variety of media from light to wood to paint, these artists» geometric sculptures and paintings, carefully crafted with moments of exacting perfection, delibertly retain the presence of the wayward human gesture and humble hand - made mark, imbuing them with a quiet and understated transcendental beauty.

Stand as close as possible (with your hands clasped behind you so the gallery guard doesn't start to panic you're going to touch the painting) and spend time studying the paint and brush marks, not the subject of the painting.

It's filled with cool, facile painting which blends its color and marks like expert mixology: Heidi Jahnke's beautiful, but Dana Schutzian, pastiche; Peyton Cosell Turner's faux eyelash wallpaper; Elizabeth Jaeger's ceramic hands used as the centerpiece of a working fishtank; a dash of Helen Frankenthaler and Jutta Koether.

Even those pieces that are not traditional paintings critically engage the legacy of postwar Abstract Expressionism, which eradicated figurative representation in favor of all - over gestural marks that were considered to be indexical references to the hands and psyches of the artists, who were becoming cultural icons in their own right.

Around 2013, the artist began a series of shallow but densely layered paintings that remix appropriated images with various types of mark making — made using a tablet a pen, a mouse, her hand directly to canvas, and original drawings projected and traced.

I need to trust my hand and body and brain and the paint material to conspire together when the brush marks the surface.

A date, meticulously painted by hand appears on a monochrome canva: it marks the day on which On Kawara created the work.

Like Guston's 1978 painting The Line, which depicts an aged hand descending from a cloud and making a thick mark with a piece of charcoal held between two figures — a riff, of course, on Michelangelo's hand of God — Head and Bottle denotes the single all - seeing eye of the creator.

Highlights include works by Mark Barrow who collaborated with textile designer Sarah Parke to produce a hand - loomed linen work onto which Barrow has painted a geometrical composition of delicate and interweaving colors.

The British artist, Shaun McDowell, has worked to create distinct series of paintings using different materials and applications in each body — acrylic paint applied by hand, oil stick drawn and smudged, oil paint applied wet on dry to build up layers of clear independent marks that form a whole.

Mr. Stone loved painterly painting, «seeing the mark, the hand of the artist,» said his daughter Jeremy Stone, a San Francisco art adviser and appraiser.

His expressionistic mark - making in colored pencil — a prominent feature of the paintings on display — detail the artist's hand across his canvases and lend a noticeably more intimate impression.

Color, texture and expressionistic marks create solidified moments of his hand and vision of what a painting should look like.

She «paints» with layers of ribbon, dyed clothing, and hand - sewn textiles; the materials become marks, drips and washes.

The results are sumptuous abstract encaustic paintings that utilize a minimal color palette and repetitive imagery, thick layers of translucent and opaque wax, paper prepared with batik markings and hand rubbed oil stick combined to create multi dimensional panels.

Julie Mehretu and her assistants work diligently on a vast painting, Mehretu's hand skittering across a surface, leaving a little trail of marks.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

Splashes of pink spray paint and rhinestones adorn the black - and - white file pages, which are punctuated with officious markings, the redacted names of ten informants, hand - written margin notes, and a stamp on the first page of the file reading, «Historical Value / Do Not Destroy.»

The smaller works on the other hand mark a development in his series of paintings depicting the same rubber plant.

Correa remarks: «Though much of my recent work has utilized print making techniques, I don't have any training or expertise in printmaking; what I like about it is it's physicality (I print by hand) and I like to think that my naivete allows for some diy ingenuity, or wrongness in printmaking can make rightness in painting... I've got a group of paintings made by painting on wine bottles and then wrapping and wringing canvas over them, and another group is made by painting through a blank silk screen, the screen clogs as I go, making it's own marks until its no longer useful.

Painting became my means of discovery... There is something satisfying about making a mark with your own hand.

Beckmann described with his hand the vertical lattices that are so marked in the structure of his own painting.

Here we can see the mark of her hand even at a distance; the lines have a softness, because Martin worked quickly to avoid drips in the fast - drying paint.

Curated by Wattis Institute director and chief curator Anthony Huberman, Laura Owens: Ten Paintings presents new paintings, artist books, and site - specific, hand - printed wallpaper installations that were created for the presentation and fill the entire 4,000 - square - foot exhibition space, marking the artist's first solo institutional show in the United States siPaintings presents new paintings, artist books, and site - specific, hand - printed wallpaper installations that were created for the presentation and fill the entire 4,000 - square - foot exhibition space, marking the artist's first solo institutional show in the United States sipaintings, artist books, and site - specific, hand - printed wallpaper installations that were created for the presentation and fill the entire 4,000 - square - foot exhibition space, marking the artist's first solo institutional show in the United States since 2004.

Curated by Wattis Institute director and chief curator Anthony Huberman, Laura Owens: 10 Paintings presents new paintings, artist books, and site - specific, hand - printed wallpaper installations that were created for the presentation and fill the entire 4,000 - square - foot exhibition space, marking the artist's first solo institutional show in the United States siPaintings presents new paintings, artist books, and site - specific, hand - printed wallpaper installations that were created for the presentation and fill the entire 4,000 - square - foot exhibition space, marking the artist's first solo institutional show in the United States sipaintings, artist books, and site - specific, hand - printed wallpaper installations that were created for the presentation and fill the entire 4,000 - square - foot exhibition space, marking the artist's first solo institutional show in the United States since 2004.

On the other hand, I have a show that is opening very soon with Mark Bradford, who is not an emerging artist, but he is actually of my generation, but someone who I've known for many years, and actually have had some of the most important discussions to me about painting over the years, as well as feminism, and queerness, and all kinds of other things that Mark thinks about.

Modern Masters On View In Palm Beach — Mark Borghi Fine Art — New York, New York City, NY Out of Hand — Materializing the Postdigital — Museum of Arts and Design, New York City, NY The Show Is Over — Gagosian Gallery, London Re-View: Onnasch Collection — Hauser & Wirth, London Within and Beyond — Talley Dunn Gallery, Dallas, TX Gianni Motti — Delire Gallery, Brussels Resonant Minds: Abstraction And Perception — Montgomery Art Center, Claremont, CA Pictures of Nothing — The Frances Lehman Loeb Art Center, Poughkeepsie, NY Adventures of truth — Painting and philosophy — Fondation Maeght, Saint - Paul American Collage — Gerald Peters Gallery — New York, New York City, NY Making Their Mark: The New York Fab Five — Gemini G.E.L. at Joni Moisant Weyl, New York City, NY Artzuid — Rijksmuseum, Amsterdam Over, Under, Next: Experiments in Mixed Media, 1913 — present — Hirshhorn Museum and Sculpture Garden, Washington, DC Dynamo Un Siecle De Lumiere Et De Mouvement Dans L'art 1913 - 2013 — Galeries nationales du Grand Palais, Paris S (ch) ichtwechsel!

From the explicit use of geometric and mathematical rules to restrict the influence of the artist's voice in catholic iconography, to JMW Turner's bits of architecture providing an armature for an ethereal expression of light and air, to Gerhard Richter's squeegee obscuring his hand - painted marks.

The paintings fuse the artist's hand - drawn gestural marks that are cast in plaster with Internet - sourced, digitally created backgrounds of stone.

In marked contrast to Robert Rauschenberg's famous Bed, 1955, which saw the artist actually paint on his bed sheets when he had nothing else to hand, Tracey Emin fused her art and life by exhibiting something intimate and from her personal space.