Sentences with phrase «how painting space»

Not exact matches

We Love: How the giant octopus mural behind the bar, painted by Will Mitchell of Square Away Signs, totally makes the space.

Dimensions: Depending on how much space you have to work with, you should find a paint sprayer with the right dimensions.

Laser cooling has been applied to paint, which could mitigate urban heat islands and solve the problem of how to cool objects in space

«This possibility, combined with what we already know about how microgravity affects muscles and bones, paints a very bleak future for human space flight unless we start to develop effective countermeasures.»

Scientists have now learned, despite its ordinary name, that Steve may be an extraordinary puzzle piece in painting a better picture of how Earth's magnetic fields function and interact with charged particles in space.

Thank you so much Carrie, I love how a fresh coat of paint brightens the space!

When Joanna realized how many of her clients struggle when choosing the right shade of paint for their space, she was inspired to create a collection of 150 classic paint colors.

I'm going to share with you how to take a neutral room and incorporate this hottest color trend into your space without busting out the paint brushes.

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When I realized how well the milk painted stool I recently did with my son matched the red accents on the towel hooks, I couldn't resist adding it to the space.

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I love painting things in my house and how they take on a whole new life, and brighten a space.

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Although we still haven't quite figured out how we want to permanently decorate this space, I do however know one thing for sure and that this that I adore this darling painting by Deann Art!

I've been debating whether or not if leave the original black color or paint the base, but I love how much work space it give us!

I love how the paint colors are complementary and everything flows effortlessly from one space to the next.

Love your paint - by - number collection and how you totally designed the whole space!

It is also a perfect example of how painting part of a piece can lighten and brighten a huge space.

It shows you how artists have developed a window on a flat space through first of all basic means of overlapping, placement, symmetry and story telling and how this changed with Giotto and Masaccio (use of light and dark shading) and how Brunelleschi brought the grid and camera obscura to develop a window to the world in his paintings.

If not, you can use dry erase paint to turn any surface into a space for students to show their thinking (see how here).

OCR fails to explain how it intends to compare the quality of paint, carpeting, practice and performing spaces, laboratories, and the rest of these diverse facilities.

At rental dwellings, renters are often limited to how they can customize their space, whether they're restricted from painting the walls or will never be able to upgrade their patio or add a pool.

Pros: Put up your hand if you've ever stared at painting in a store, or squinted at a picture on your tablet, trying to imagine how it would look in your space?

And Claris Cyarron for The Arcade Review looks to the paintings of Mark Rothko and how videogames can evoke the same emotions in their constructed spaces.

I've never seen anyone who knows how to make paintings tell a story in space like her.

Leading up to his two exhibitions later this autumn at David Zwirner's gallery spaces in London (October 5 — November 17) and New York (November 1 — December 19), I discussed with Tuymans a number of subjects that come out of his two new bodies of work, including the questions they raise around the romanticized life of artists, the recurring issue of otherness in his work, and how a talking parrot in a charmingly ramshackle tapas bar close to his studio inspired the title for a series of new paintings.

By 1960 the picture plane had implicitly come to belong to the past, but that would not be clear to either the artists who performed the closure or the critics who loved their work, nor had it become any clearer by 1972, when Greenberg described Stella's painting as poor sculpture rather than remembering Mondrian's remark about how paintings don't take place on the surface but in the space between and around itself and its viewer.

It helps explain how a single movement has struck different people as formalism or action painting, the pure representation of space or an artist's self - representation.

His idea of how a space can stretch, or bulge, or come forward, is the heart and soul of constructing a painting.

We were both affected by the way those sounds functioned in the Rothko Chapel, but we were also very aware of how the physical presence of the paintings alters one's emotional interaction with anything that goes on in that space.

Exploring how to force illusionistic space out of painting, Stella created the seminal Black Paintings, credited by some as reinventing Modernism and establishing the basis for Minimalism.

In 1974, in reference to a New York gallery show by Judy Rifka, Jeremy Gilbert - Rolfe wrote that the artist addressed «the question most crucial to painting in general at the present time: the question as to how far the — currently compromised — abstract «depth» of pictorial space can be newly considered — retrieved — through attention to the material basis of the conventions on which that experience of «depth» relies.»

Points of View: Jonathan T.D. Neil on the latest empassioned debate on art, money, markets and value; J.J. Charlesworth, in Dubai, on how contemporary art is driving the economy; Maria Lind on the power of bureaucracy; Mike Watson on the politics of the uselessness of art; Sam Jacob on preconceptions and disciplinary boundaries; Hettie Judah on Fashion in the museum and art on the catwalk; Jonathan Grossmalerman finds a new subject for his paintings; Oliver Basciano on off - space Project LALO in London & Los Angeles.

I do miss it, but I'm also figuring out how to incorporate observation, such as when I'm painting in my studio and I see a flood light that gives me an idea of a kind of mark I want to make or I just layer stuff that I perceive in different spaces into a single painting.

AP: Throughout our conversation you spoke of abstraction, and your paintings, in relationship to the physical space of not only the surface of the work, but how it relates to your own physicality / body.

Mika Tajima employs sculpture, painting, video, music, and performance, often drawing on contradictions in modernist design and architecture to consider how the performing subject (e. g., speaker, dancer, designer, factory worker, musician, filmmaker) is constructed in spaces in which material objects outline action and engagement.

We are back in the territory of the last discussion on Picasso's «Mandoline et Clarinette», back in the abstract painter's dilemma of how to paint abstract space, and whether that dilemma might be circumvented by dabbling in three - dimensions.

In the catalogue, Johanna Burton writes, «What Kelly is producing does not end at the edge... a shadow is thrown, but rather than demarcating the shape and space of the work more clearly, it works to utterly confuse what is being looked at: these are paintings that, in places, don't end or, perhaps, refuse to show how they begin.

The panel will explore the timeliness of this recent iteration of digital abstraction, with three artists who variously work through issues such as: how gesture, expression, and authenticity might continue to be possible in a contemporary image - based culture; whether our digital era truly produces an ahistorical condition in which images and marks have no specific reference and no relevant point of origin; how structures of and interfaces with digital technologies have necessitated new models for thinking about memory, distribution, and reproduction, as well as degradation, rupture, breakdown, and the void; and how the ubiquity of the screen in all aspects of life has given rise to a renewed interest in the relationship between two - dimensional and three - dimensional space, with a refreshed focus on tromp l'oeil and «topographical» painting.

Hard edges, playful gestures, spatial conundrums and a masterful, unpredictable use of white paint — sometimes to erase or conceal, sometimes to open and enliven spaces — come together in compositions that call attention to how painting are put together without demystifying their power.

The exhibition title Procession refers to how the artist's paintings reference a dual meaning for how groups of people move through space: either in the spirit of play and feasting like in Carnival, or within a darker place occupied by the Ku Klux Klan and their nighttime rallies that punctuate the darkness with hoods and fire.

A Chicago artist who teaches at Northwestern University, Judy Legerwood has for much of her career made paintings that play with a basic quatrefoil floral motif, laying them down in patterned rows or focusing on them solo to explore how the variations interact with architectural space.

In the front room, paintings by Tsibi Geva (b. 1951, Israel) exude a strong presence that sets the tone for how to view and experience each of the spaces.

What / Why: «We treat desire as a problem to be solved, address what desire is for and focus on that something and how to acquire it rather than on the nature and the sensation of desire, though often it is the distance between us and the object of desire that fills the space in between with the blue of longing. - Rebecca Solnit GRIN is pleased to announce Pools of Fir, a solo exhibition of new painting and photography by Brooklyn based artist Caitlin MacBride.»

Her paintings investigate the effect spaces and suburban settings have on an individual's emotions and behaviour as well as how people use space in an urban context.

(«Hopper bets everything on composition, which, in his work, is almost as tautly considered as in a Mondrian,» Schjeldahl wrote in his 2007 review, in which he also advised viewers to sketch Hopper's paintings in order to better grasp them: «Just get the main shapes, including those of empty space, and how they nest together in the pictorial rectangle.»)

Her large - scale oil on canvas paintings question how art can become a place by its interaction with the environment and how the space can become the artwork.

Their work raised questions of how colors meet and melt into one another and how the interplay of background and foreground can produce an ambiguous sense of space within a painting.