Sentences with phrase «into painted marks»

But take a closer look and the scene vaporizes into painted mark.

Not exact matches

Fu did paint a positive picture though both in terms of Ibrahimovic's mentality and body being capable of bouncing back and continuing his career at a high level, and the Swede will certainly hope that he can make his mark for Jose Mourinho's side heading into the festive period or perhaps more realistically in early 2018.

Combo's rightwing ideology gradually begins to seep into the film and makes its mark on young Shaun; but Meadows is careful not to paint Combo as a mindless thug, instead allowing him flashes of intelligence and articulacy, which in many ways makes him even worse.

Mark Pilgrim, author of Dive into Python, paints a lucid picture of the Future of Reading through a series of quotations.

Yellow painted boulders or rocks along the roadside mark designated diving spots, many of which are shore dives where you can simply turn up with your buddy and walk right into those inviting waters.

I also use the front and the back of the brush — I paint the paintings with the front and then I make marks into them in the back, which I refer to as cross-hatching.

As the American upholder of Matisse's colouristic doctrine, Milton Avery developed the French artist's decorative colour surfaces into subtly toned colour zones, thus breaking the ground for the Colour Field painting of Mark Rothko and Adolph Gottlieb, both of whom were friends of his.

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.

In these paintings, gestural lines sinuate around, sometimes emerging into vague shapes, other times into obscure forms, creating a rich schema of marks, symbols and colors - self - contained and relating to each other within the boundaries of the canvas.

Systems of marks traverse intensely layered surfaces, coalescing into an image of the bust as passages of thick paint are scraped, layered, blocked out, and worked up into a complex viewing experience.

This exhibition marks Taylor's second solo exhibition with the gallery and continues his exploration of portrait painting, while delving deeper into the history of oppression, exposing realities of the so - called American dream.

Like a sieve moving through every moment of every day, Barbara Campbell Thomas's paintings siphon the onslaught of words, text and images, sounds, textures and physical stuff into piecemeal orderings of stacked lines, quasi-geometric forms and blippy brush marks — all in concert with collaged pieces of thrifted fabric.

Learning about different mediums and pigments, how they move and what you can push them to be, all adds up into a passion for paint marks.

Thomas Chimes: Early Works (1958 - 1965), 2009 Text by Lisa Saltzman 56 pages, Hardcover Published by Locks Art Publications ISBN: 978 -1-879173-41-5 «Developing, in these formative paintings, a visual style indebted to the palette and compositional structures of such modernist forefathers as Marsden Hartley and Henri Matisse and emboldened by the stenographic proto - abstractions of such New York School predecessors as Jackson Pollock and Mark Rothko, Chimes systematically put forth a series of paintings that pressed such experimentations with the limits of figuration into the realm of the theological, the philosophical and the historical.

Mark Rothko was painting shadowy figures in the subways well into the 1940s.

The marble, a relic of times past, is drawn into the present, and reciprocally the paint marks become interlaced with the annals of history.

In Currin's latest paintings, the graphic sexuality which has marked his practice for the last decade is sublimated into playful, sometimes absurdist symbolism.

Her work begins with marks, stains and cracks on the ground which Calame traces, then combines layers and retraces, transforming them into drawings in coloured penicl or pure pigment and paintings in enamel or oil pain.

A sphere made of colored strips of fabric torn from a plethora of unraveled paintings, The Painting Ball performs the undoing of painting in its traditional form to mark a tabula rasa moment that inscribes Saban's project firmly into the canonical narrative of painting's many deaths and resurrPainting Ball performs the undoing of painting in its traditional form to mark a tabula rasa moment that inscribes Saban's project firmly into the canonical narrative of painting's many deaths and resurrpainting in its traditional form to mark a tabula rasa moment that inscribes Saban's project firmly into the canonical narrative of painting's many deaths and resurrpainting's many deaths and resurrections.

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.

Robert Storr goes further, building an analysis of these works as almost geological phenomena in which the various strata of paint conspire to form masses and crevices of color that bleed into one another, (R. Storr, «LA Push - Pull / Po - Mo - Stop - Go», in Mark Grotjahn, exh.

To mark the occasion of the exhibition Line into Color, Color into Line: Helen Frankenthaler, Paintings, 1962 — 1987, the Helen Frankenthaler Foundation and Gagosian produced a video of rare archival footage of Frankenthaler on the subject of line and color.

«I wanted to bring as much information into a painting as possible, which was, on a very simple level, a way of coping with reality,» he says of his early work made in post-World War II Germany and marked by the 1990's: the end of the Cold War, changing global relationships and the birth of the internet.

And if Guston's fascination with the poetry of D. H. Lawrence, W. B. Yeats, and some other Italian and American writers links him to modernism, the political engagement of his figurative paintings — so utterly relevant right now — marks his entry into a later, very different visual tradition.

He marked the shift with his first foray into figurative paintings, which made up half of the eight works in the exhibition.

His latest carved plaster tablets and graphite drawings arrive at similar aesthetic states but from opposite directions: the painted tablets respond to surface texture and chance operations, excavating compositions through deconstructive sgraffito techniques, while the drawings depart from landscape imagery and are built up into complex, almost - recognizable images created through a process of repetitive mark - making, erasure, and re-drawing.

As you sit and look into [the paintings], though — which is what you should do — you slowly see in her marks the effort that it took to achieve this level of renunciatory rigor.

Recent major exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian Gallery, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Helen Frankenthaler: Composing with Color: Paintings 1962 — 1963 (Gagosian Gallery, NY, 2014); Giving Up One's Mark: Helen Frankenthaler in the 1960s and 1970s (Albright - Knox Art Gallery, Buffalo, NY, in cooperation with the Helen Frankenthaler Foundation, 2014 — 2015); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum at Brandeis University, 2015); Line into Color, Color into Line: Helen Frankenthaler, Paintings, 1962 — 1987 (Gagosian Gallery, Beverly Hills, 2016); As in Nature: Helen Frankenthaler Paintings and No Rules: Helen Frankenthaler Woodcuts (The Clark Art Institute, Williamstown, MA, 2017); and Helen Frankenthaler: After Abstract Expressionism, 1959 — 1962 (Gagosian Gallery, Paris, 2017).

The performance marks the tenth anniversary of Sequences, the Icelandic capital's biennial festival of «real time art» (so, mostly performance and video, but, in previous years at least, happily stretching into sculpture and painting).

Mark Bradford has emerged in the past decade as one of the most inventive and accomplished artists of his generation, extending and transforming the traditions of 20th - century American painting into an empathetic yet demanding reflection of the urgency, tension, and vibrancy of our present moment.

Johns, who turns 87 this month, forever changed the way we think about process, building up the surfaces of his paintings with slow, sensuous, wax - laden marks that seem to fold the flow of his time into his imagery.

Born in Los Angeles, Mark Bradford collages pieces of detritus — found billboards, logos, hairdresser's endpapers — scavenged from the streets of southern California, which together snap into abstracted urban grid paintings and other evocative compositions.

For the works of Cecily Brown, I was interested in having the visitor not just see a single work but enter physically into the painting, almost breathing it in and touching it, feeling deeply immersed in Cecily's colors, marks, and figures.

The picture is divided into nine sections — three distinct vertical panels marked by three horizontal bands of pictorial activity — and the image is almost quartered by the intersection of the red and white lines of paint mentioned above.

Gary Hume's Elusive Paintings — Carol Vogel, who has been increasingly stretching her news - breaking repertoire into profiles recently, adapts her latest slow - news - season «Inside Art» column to lead with a mini-spotlight on the YBA painter to mark his new Tate Modern survey.

Like his Word paintings, in which letters and words collapse into abstraction only to become whole again, Wool's abstract marks blur together and pull apart, reinforcing the essential connection between the two.

The paintings and drawings of Los Angeles artist Mark Grotjahn (born 1968) collide abstract and figurative elements into spider - webbed splinters that skew traditional perspective and dazzle the eye.

This level of energy and intensity is absolutely crucial to the success of a painting, as I find that a slower, more considered approach simply doesn't translate into vigorous and meaningful mark - making......» Tim Benson

Bauer describes his painting process as «intuitive», originating from a bank of images and painterly marks he has amassed into Photoshop files and templates.

A formal tension in Ferris's work exists between types of mark - making: fields of spray call to mind a quasi-photographic, Richterian blur, while scraped - on graphite and textured lines of oil pastel bring the paintings back into a non-objective realm.

Abstract Expressionism can be divided into two tendencies: Action painting, which included Jackson Pollock, Willem de Kooning, Mark Tobey, Lee Krasner, Joan Mitchell and Grace Hartigan, among many, many others; and Color Field Painting, which included such artists as Mark Rothko, Helen Frankenthaler, Jules Olitski, Kenneth Noland and Adolph Gpainting, which included Jackson Pollock, Willem de Kooning, Mark Tobey, Lee Krasner, Joan Mitchell and Grace Hartigan, among many, many others; and Color Field Painting, which included such artists as Mark Rothko, Helen Frankenthaler, Jules Olitski, Kenneth Noland and Adolph GPainting, which included such artists as Mark Rothko, Helen Frankenthaler, Jules Olitski, Kenneth Noland and Adolph Gottlieb.

During the 1950s, American artist Paul Jenkins (1923 - 2012) entered into friendships with Jean Dubuffet, Mark Rothko, Jackson Pollock and Willem de Kooning et al, and his unorthodox application of paint brought him into association with Abstract Expressionism.

Beginning as a block of wood carved by the artist with chainsaw, the classic female form personified within Venus III bears the artist's angled marks before the sculpture was cast into bronze and finished with patina and paint.

Gestural or minimal; isolated or grouped, written, painted, filmed or constructed, the components marking this alien culture's individual extremes now flow together, like Chen Zhen's (Precipitous Parturition, 1999), a 50 - foot - long inner - tube dragon that connects the rotunda, into a polymath aesthetic unified by one longing, one need.

Historically, AbEx has been broken into two tendencies: Gestural Abstraction (or Action Painting), which emphasized the energy of the painter's mark, and Color Field Painting, which focused on the creation of vast, seemingly floating areas of color.

His facility with the brush was honed in an earlier series focusing on Balthus's studio, which translated the evidence of the artist's activity on the floor and walls into marks and splatters on the surface of the painting.

In the uniformity and repetition of the shapes, they seem to underline the formality of fixing nature into a stillness, but what unites these works with her more naturalistic landscapes are the deft, confident strokes of paint that seem to arrive effortlessly on the canvas, and their contradiction with the more preciously applied marks that flicker and activate the painting's surface, along with our eye.

In an homage of a kind to one of the most famous New York avenues, Ellsworth Kelly tricks us for a second into thinking we're looking at a Mark Rothko painting.

The new works represent a marked shift to make paintings with an unadorned immediacy where marks are permitted to fall as they may conjuring the question: «How do random elements of differing natures encounter, intersect and emulsify into relationships?»

He paints these scenes not as they appear but as he remembers them, working in a highly intuitive manner to transform his memory of the textures and feelings of a place into a constellation of marks that form into an evocative image.