Sentences with phrase «hands of artists like»

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Not exact matches

As he describes his life, it sounds like a Vegas floor show, complete with Bobby Berosini and his dancing orangutans, Sigfried and Roy and a naked sleight - of - hand artist.

From hand dyed silks of Brooklyn textile artist Shabd Simon Alexander to the live - edge custom wood desks and signs handcrafted for us by Leucadia local and friend Neiko Pagaduan of Timber Library, to partnering with like - minded, independent boutiques, it brings me immense satisfaction to know that we are able to design beautiful things, provide personalized service, and ultimately play a role in keeping our downtowns alive.

The Magic of Play, Rainy Day Mum, hands on: as we grow, Putti's World, Blog Me Mom, Scribble Doodle and Draw, 3 Dinosaurs, Buggy and Buddy, Royal Baloo, Kitchen Counter Chronicle, Nurture Store, The Usual Mayhem, Making Boys Men, Two Daloo, Reading Confetti, Creative Play House, Fantastic Fun and Learning, Here Come the Girls, Blue Bear Wood, Zing Zing Tree, Mummy Mummy Mum, Red Ted Art, Life at the Zoo, My Little 3 and Me, Imprints from Tricia, Smiling Like Sunshine, Frogs & Snails & Puppy Dog Tails, Creative Connection for Kids, 52 Brand New, Inspiration Laboratories, Kid World Citizen, JDaniel 4s Mom, Inspired by Familia, Kids Creative Chaos, All Done Monkey, ArtChoo, Something 2 Offer, Child Central Station, KC Edventures, Momma's Fun World, Sun Hats and Wellie Boots, Discovering the world through my son's eyes, Little Artists

On the one hand, emotional manipulation has always been at the heart of our cultural artefacts; in fact, we have always lauded the best artists, writers, film - makers, composers and the like for their seamless skills in moving us and enlarging our horizons.

I conclude with relief that science, in the hands of capable artists like Baldwin and the Rambert Dance Company, can be wrought into cultural expressions of sublime beauty.

An artist can assemble these blocks into an approximate representation of any virtual character, be it a human, a dog or an elephant or even just single body parts like arms or a hand.

At that time I felt like there weren't a lot of makeup options for darker skin tones available, and the makeup artists at the department store counters seemed to think that loading up the darkest shades of shadow, blush, and lipstick was the only way to go --(this is before YouTube changed the world of makeup for women of color)-- that's when I decided to take matters in to my own hands and I became sort of obsessed with playing with makeup.

Today's studios are less like factories than finance companies, doling out money to artists and technicians who do the hands - on work of filmmaking.

In the hands of a pioneer motion - capture artist like Andy Serkis, there can be a world of difference.

With nothing original to show, the by - the - numbers film plays the audience more like a player - piano than from the hands of master artists.

ComicBook is reporting that Mark Millar is set to launch a brand new ongoing Hit - Girl series, which will begin with a four - issue arc entitled «Colombia» from Millar and artist Ricardo Lopez Ortiz, before handing over to other creators including the likes of Kevin Smith, Frank Quitely, Rafael Albuquerque, Pete Milligan, Eduardo Risso, Daniel Way and Kim Jung -LSB-...]

Other components allow the virtual artist to smear and blur lines to give it a more hand - drawn look, and the sensation of blurring claims to feel just like running your fingers over a drawing.

and «10 Locals...» series contain insights from local residents who know the local area like the back of their hands, many of them are tour guides, travel bloggers, artists and business owners.

-- You have an amazing portfolio of things you've been working on that will make our existing artists jelly (jealous)-- You like the idea of taking something from concept to completion, with your own vision — You work really well to a brief and love feedback — You can turn your hand to anything art - related, from concept to modelling, characters to environments.

As I read this article it reminded me of how we artists can be quite an emotional lot.Sometimes we have trouble being practical.I certainly have mixed emotions about this subject.On the one hand it is always great to sell a piece of art but on the other five dollars doesn't seem worth the hassle.But the point I think many may have missed is that a five dollar work of art would definately be something you only spend a small amount of time on, like a half hour or less.That's $ 10 an hour to do what you love and isn't that what we're all looking for?My husband who's a bussiness man is always making me look at it that way, in terms of an hourly wage.I know that's not very artistic thinking but it sure does make sence in this materialistic world that we live in.

Yet while the notion of drawing in space had already featured prominently in Clement Greenberg's writing about midcentury expressionist sculpture, Sandback's drawing is hardly so subjective; his lines look less like traces of the artist's hand than like vectors laid out with a parallel rule or a T square.

Given the mathematical precision of her early sculptures, the autonomy and tight rectangular rational at work in her concrete and frame pieces, her latest work looks like it has spiraled out of control: the artist's hand is everywhere, the arrangements are overpowering, involving a surprising personal sensibility, humor, suggestions of adoration and campy seduction.

Like the Minimalists, materiality and the physical object are central to Deschenes» work, yet her images and geometric sculpture - photograph hybrids do not erase the evidence of the artist's hand.

An untitled photocollage c. 1975 — 76 sees a ghostly hand against a black background above an overflowing basket propped up by a silhouetted cutaway; the totem - like form makes the organic uncanny, which is one of the artist's prevailing motifs.

It may scatter an artist across several floors, as with tiny constellations from Bacher and hand - painted slides by Luther Price, like twin celestial maps of the Biennial.

When dealing with an artist as subtle as Arturo Herrera, the manner of interpretation is by nature complex, further complicated by what at first seems like wildly varied and distinct bodies of work, each adopting the formal affectations of the medium at hand: architectural interventions, collage, abstract paintings, biomorphic abstractions, hybrid paintings, photography, sculpture, mail art.

In some ways a literal record of the performative and durational qualities of this enterprise, Beck's wall drawing will hold evidence of the artists hand as well as abstract segments of his entire body, imprinted full - scale and photo - negative like against the ephemeral yet sturdy packing tape ground.

As I move close to his surfaces, the web of brushstrokes encloses me like traces of the artist's own hands.

with a very 21st - Century sculptural tableau, in which a bolt of mesh - like Kevlar fabric becomes the ground for several rubberized casts of the artist's hand and forearm.

She later settled down in New York, where she came to know the Greenwich Village of artists and writers, the Latin American and Puerto Rican Spanish Harlem and the Upper West Side like the back of her hand.

It is an absolutely wonderful first hand account of their lifestyle in Springs back in the day, and I mean the day, that one back in the «40s and «50s, when artists could live on the East End practically by just fishing a little, clamming and growing a garden (like Jack did).

Like centuries of artists before her, she holds a brush in her hand as she looks into a mirror, scrutinizing her own image.

Fiber artists like Sheila Hicks, Josep Grau - Garriga, and Magdalena Abakanowicz embraced the materiality of their media with an intentionally hand - rendered appearance.

«Think about your grandmother differently,» the artist Robert Kushner said to me last summer, reflecting on the years he spent during the mid-1970s cutting, sewing, and crocheting handmade garments — often out of scavenged and second - hand clothes — then staging them as costumes for live performances and runway shows in downtown New York studio lofts and galleries like Paula Cooper and the Kitchen.

St. Louis Public Radio covers a selection of new African American art exhibitions on view in the city, including «Hands Up, Don't Shoot,» a direct response to the Michael Brown killing organized by the Alliance of Black Gallery owners and on view at 14 venues; «Other Ways» at Philip Slein Gallery featuring than 60 works from local private collections by artists such as Radcliffe Bailey, Dawoud Bey, Mark Bradford, Ellen Gallagher, Kara Walker and Kehinde Wiley; «Living Like Kings» at the World Chess Hall of Fame explores the intersection of chess and hip hop; and a presentation of Nick Cave «s Sound Suits at the St. Louis Art Museum opening Oct. 31.

Certain key motifs appear over and over: skinny legs that seem to have been de-boned, piles of old shoes, cartoonish and clunky, clocks with one hand, low hanging light bulbs and, again and again, these hooded figures that may be Klansmen or something more personally emblematic: the masks that artists, like all of us, hide behind; the disguises we don to face or shy away from the world; the evil, banal and faceless, that lurks within us all.

Approaching photo - realism are works from such artists as St. Louis» Michael Neary, who injects bizarre elements like a skeleton in a basket and a Shiva behind lemons in his «Vanitas: Talk to the Hand» (2010), or the permutations through smaller studies to the large dominant canvas «Backyard Summer» (2010) by Jeremy Long from Ithaca, New York with its edges of magic realism reminiscent of Peter Blume.

When abstract art burst onto the stage in the Western art world in the early 20th century, its practitioners quickly resolved themselves into two distinct camps: the gestural abstractionists, who built upon the liberatingly loose compositions of Post-Impressionists like Cezanne to create non-objective paintings emphasizing the artist's hand, and the geometric abstractionists, who seized on the it - is - what - it - is essentialism of Euclidean geometric shapes.

Whether those absences be the figure of Trayvon Martin and other African Americans whose lives were stopped short at the hands of institutionalized racism, as evoked through Hammons's hood; the artist's own body, coated in grease and pressed against paper to create silhouettes of his form in his early «bodyprint» series; or the bodies missing from behind the standing mics in Which Mike Do You Want to Be Like...?

The artist, whose work is both in dialogue with and enigmatically outside of the Pop tradition, always starts with drawings and then builds them into sculptures, which carries over into the final piece a satisfying 2 - D quality — as if Simpson were drawing in space, like the disembodied cartoonist's hand in a Chuck Jones short.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

I can't count on both hands (no pun intended) the number of times I've showed up at an art opening and realized my nails look like shit, so it's nice to see artists considering such amenities at their events!

The extraordinary legacy of galleries like Sperone, Christian Stein and La Tartaruga, post-war abstract painting, Arte Povera (especially the work of Giulio Paolini and Giovanni Anselmo), hand - painted Pop by artists like Mario Schifano, the rarefied persona of Gino de Dominicis: all are fertile for rediscovery.

Artists like Hicks and Stuart, the latter an American artist who began creating environmental earth - based and minimalist works in the 1970s — and a recent addition to Jacques's roster — are «getting up there in age, leaving less time to talk to them first hand about the scope of their practices,» Jacques said, which is key to putting them on par on the marketplace and in history with their male peers.

On the other hand, both parts of Black in the Abstract make it perfectly clear that, on the whole, the quality of the work being produced by black artists whose practices include abstraction — as the inclusion of Hammons, McMillian and Donnett indicate, not everyone here is an «abstract painter» — does not suffer in comparison with that of their colleagues of other backgrounds, including major figures like Amy Sillman and Charline von Heyl, both of whom have work in Arning's Painting: A Love Story.

We strongly encourage that participation, because it makes our «artists» feel like they belong, knowing that if they stick to the straight and narrow, and work hard, someday a watercolor that they created with their one good hand might end hanging in the reception area of the second largest dental clinic in Queens.

Working in watercolor, the artist tries his hand at a series of abstract motifs whose sparse forms float to the surface like notes of visual Muzak.

It leaps from the artist's hand to Picasso's feet, like a parable of Modernism's decline, without ever quite shattering the distinction between point, line, and space.

While Binion's monochromatic work has been compared critically to minimalist practice, the artist resists that explanation and cites his work's narrative instead in the use of his hands to make his paintings, and his choice of child - like materials — wax crayons — which he presses onto shaped wood and aluminum panels.

Courses vary on topics ranging from traditional programing, like weekly evening lectures at Cooper Union by important art thinkers and artists, to the more experimental offerings, like a course inspired by Chopped — a completive cooking show on the Food Network — where selected class members compete against one another in a reality TV - style gauntlet of hands - on, cutthroat art - making.

But like his paintings, their true character is in the material — the way the form shifts from heavy slabs to smooth or pitted sections that directly record the pressure of the artist's hand where his thumbs and knuckles pressed into the original clay.

Gordon Veneklasen, one of Mr. Curry's art dealers on hand to watch the late - night affair, praised the artist's relationship to «modernism» as practiced by the likes of Picasso and Miró.

The dark side of human nature is the driving force behind this Dutch artist's work, like his fascination with the opposition between pomp and circumstance on the one hand and the obscene reverse side of the display of power.

Shows like these tend to get buried under official good will, but Candler, who has years of experience with both Chinese and American artists, was able to make the best of the very good art she had at hand.