Sentences with phrase «kinds of paint because»

I worked on that series for a while, and then I was struck my these makeup tutorials, this idea that if you're making paintings [of them], the painting is kind of painting itself because it's using pencils, it's using brushes and pigment.

Not exact matches

SHELLY STEELY: Yeah we used the dresser it was my mom's dresser only they're not from when she was growing up I mean in the seventies and her grandpa had her paint them orange because that paint was on sale so horrible bright orange color and I think there was two of them and I think at one point my brother painted one black but the other one was just sitting in the closet and so we took it out and repainted it kind of a bright blue.

You can use craft eggs (or get the cheap plastic kind and paint them white), some felt, pink and black acrylic paint, and white pom poms (because, of course, you'll need a tail for the back!).

Add googly eyes (you don't need glue if you stick them on when the paint is still wet) This is also a fun part because it's kind of like seeing shapes in the clouds.

It was fairly simple except for the fact that the insides of old hutches are kind of hard to paint because it's difficult to reach in.

I had this spray paint from another project (I would share but it was kind of a fail) I love using spray paint on furniture and everything other painting project for that matter because it is so easy and it is durable.

Still, there's something about this couple on screen that kind of works, partly because Hawkins and Hawke are remarkable together, and partly because director Aisling Walsh and screenwriter Sherry White let them make much of small things: The looks on their faces, say, when she starts popping bright, cheerfully painted cards in with his bills, and a New York visitor offers to pay more for her card than for his fish.

In fact one of the two Espada in Essen was truly unique... this 1969 model finished in a bright blue metallic paint with additional flakes received a black leather interior... on its own already very rare because of the paint, but what made this Espada really a one of a kind Bull was the fact the roof featured a large glass panel that flooded the interior with light making it almost a show car.

Our brushes are divided up into different mediums, because each type of paint requires a different kind of brush.

And yet, private as these paintings are, the feelings they expose are as personal as any I have encountered in a work of art — the kind you don't want to spell out because you are not even sure if you can.»

And Sam Messer was such a good teacher because he understood young people's concerns about what being an artist is, specifically those making paintings, what kind of language of expression they should have, and so on.

He considered Voulkos the most talented artist in the faculty and witnessed at first hand his anguish at not being able to get the kind of attention and respect he sought as an artist because his chosen medium, ceramics, enjoyed about as much stature as finger painting.

It's nice to have them done, because now I am just working on small leisurely paintings, just kind of winding down and not having an immediate deadline.

That's why painting is everywhere — because it can go everywhere, and still be some kind of art.

At the press opening, in the conservation studio that has a glorious floor to ceiling wall of glass on the Hudson (light, light, light), a kind and concerned professional explained: «We have put glass on many paintings for the first few months, because, having learned a lesson from the Tate Modern, we are expecting much larger and much different crowds from the old location, people who do not pay attention to their backpacks or care much about the art.»

LG: It's sad though because so many of these sellable paintings have a kind of slickness that is off - putting.

When Donald Judd very reluctantly abandoned painting in 1961 - 62 in favor of working in three dimensions, it was because he had finally concluded that a philosophically tenable painting was not possible — philosophically in the empirical - perceptual sense of being entirely available visually, and tenable in the sense of being free of abstraction or any other kind of representation.

But because of the radical nature of the time, and the kind of painting we were doing in Paris in the»60s, you had to go to that somewhere else, and do something there, if you thought that things were not the way they ought to be.

Some paintings were not meant to be seen en masse in the Guggenheim because they don't possess the right internal conditions to be seen in that kind of space.

Because for «The Broken Mirror,» it was still just Kasper and me going all over the world and visiting these painters, but we saw that the ARC program had grown so much and had gained so much complexity and polyphony that it would be kind of weird for just one or two curators to do a survey of painting in 2002.

But when it does work, it gets a response that no other kind of theater gets, because people know that this was just created in the moment, like witnessing Franz Kline splash black paint across a white canvas.

That's the best kind of collector because, 30 years later, they have all the Bruce Nauman sculptures and all the Cy Twombly paintings.

Because, growing up in the early «90s, my generation was mostly involved in a big questioning of the object, questioning painting, but I finally felt through Richter that, you know, maybe it would be interesting to do a kind of cartography of painting.

Thinking of painting as a form of technology is a very interesting vantage point, because if you consider the whole sweep of different mediums that artists are employing today — from video and virtual reality to immersive installation and performance — then painting becomes the least optimized medium for avant - garde curators to engage the kinds of crowds that come to biennials and exhibitions.

I felt much more connected to Polke because of his use of popular imagery in a kind of witty irreverent way, and that he was prepared to use all types of visual language in his own work, unlike Richter who would be painting paintings that looked like photographs.

Oddly enough, when I was making this series I thought about Van Gough a lot just because you felt like when he was making those drawings and he was taking them back to the studio and painting them, you felt like they were kind of a code.

Rail: Your painting, «Siberian Salt Grinder» in the show «High Times, Hard Times: New York Painting 1967 — 1975,» curated by Katy Siegel at the National Academy of Design, was so uncanny because it looks so much like Gerhard Richter's work, but it was made before Richter made paintings of thpainting, «Siberian Salt Grinder» in the show «High Times, Hard Times: New York Painting 1967 — 1975,» curated by Katy Siegel at the National Academy of Design, was so uncanny because it looks so much like Gerhard Richter's work, but it was made before Richter made paintings of thPainting 1967 — 1975,» curated by Katy Siegel at the National Academy of Design, was so uncanny because it looks so much like Gerhard Richter's work, but it was made before Richter made paintings of that kind.

Student: I also noticed that this painting or collage, because it's kind of 3D, is mixed media, because there — it has, like, paints and — but it has — it looks like it has some pencil lines and some collage and multiple other things.

His method hinges on a kind of information processing that often starts with a photograph, he says, because painting from photographs distances him from what is real or true.

I think this work looks kind of plain because Frank Stella was really getting to the basics of painting, and he's trying to really narrow it down to see, if I take out almost everything, can I still make a picture?

He wanted a kind of Caravaggiesque image so I painted Nick Hackworth [the director of the gallery Paradise Row] as a Caravaggio boy because he has dark, Caravaggiesque good looks.

DH When I started painting again I just kind of went figurative because I thought... Well, I don't know why!

«Red is my abiding obsession, partly because it has a propensity to a kind of darkness that I've always been very drawn to,» says Anish Kapoor RA, while standing in front of one of his new large - scale paintings at Lisson Gallery.

In the film Schnabel remarks: «I started to use different kinds of materials because I was looking for some kind of new way to paint... working with things that already exist affords you associations that are beyond your invention... I see opportunities everywhere as paintings, in images that already exist, in surfaces that will repsond to paint a certain way, or it might come from an accident... I realized a picture could be the architecture of a painting... so I would select thigns that already had pictures - images of things impregnated on them - and then I could treat them as a blank canvas... let them inform what I was doing and make me react to what was there and come out with a hybrid painting... it has a much to do with reacting rather than acting.»

I believe that it is true, however I would look at it from a different standpoint from Canaday and as a matter of fact that had been noted, the observation that 10th Street lacked a vitality had been noted several years before, you know, by a great number of people, including Clem Greenberg, I think in print he even coined the term Tenth Street Painting as a deneogatory term which would be that it was kind of old hat, because Clem Greenberg's stand of course is that abstract expressionism really lost it's pertinence after the early fifties.

Both Capogrossi and Damian (especially Capogrossi) seemed to be interesting and sort of acceptable here because of their (well, in the case of Capogrossi) quite original image — in the case of Damian because of a rather rough quality that made him pretty close to (or rather made him seem pretty close to) American painting, not the precious kind of European painting that we didn't like any more.

Because such a painting can go in only one place, it draws a further distinction with respect to paintings of the usual kind.

Kootz did, because I think Kootz, with all his faults, and he was as tough as either of the others, um, I think really loved a certain kind of painting.

Because Kline sketched and painted this photograph so many times, he acquired such a familiarity with it that he could apparently sketch it blindfolded in less than thirty seconds.39 This skill necessarily involved what Kline had described in 1956 as the process that had led to his breakthrough to abstraction: «breaking down the structure into essential elements».40 In the photograph, the posture of Nijinsky in absolute terms and relative to the frame has a striking structure of a kind that persists in Kline's abstract work, in which there is a tension between the composition internal to the painting and the limits of the canvas.

The current fashion for seeing Matisse as a kind of proto - minimalist godfather of today's art, just because he resorted to cutouts when he was too ill to paint, is wilfully ignorant of the development of his work.

I just loved that because I think that's very, very true to the way that I paint and very specific to the kind of image that I'm trying to make.

It's no coincidence that visiting museums and cultural centers with my parents fostered my appreciation of historical painting and fine arts because I didn't get this kind of exposure where I grew up.

Installation view Photo: Genevieve Hanson, NY March 5 — April 18, 2009 Curated by Peter Ballantine When Donald Judd very reluctantly abandoned painting in 1961 - 62 in favor of working in three dimensions, it was because he had finally concluded that a philosophically tenable painting was not possible — philosophically in the empirical - perceptual sense of being entirely available visually, and tenable in the sense of being free of abstraction or any other kind of representation.

It was something Ad could have said because he was so adamant in his rejection of any kind of representation — he was the only New York School artist who never painted figurative works — although unlike most of the others he actually could draw and studied at the National Academy of Design.

They are the kind of transitional works museums and collectors particularly value because they show Warhol groping toward the working method he would adopt in the following decade, when his participation in the creation of his own paintings was often limited to choosing the image and signing the picture.

That polyamory painting is people selling blue jeans, and I kind of like that because the painting is selling and the image has already been pre-tested by the marketing department of the corporation that is inflicting that image on us.

Museum director Dariusz Stola said his institution is an appropriate venue for the works because one of its key exhibits is a spectacular, full - scale recreation of a 17th - century painted synagogue — the kind that inspired Stella's creations.

Our paintings exist because of the other; not necessarily bearing equal marks, but coming to a compromise, a resolution to find a kind of harmony.

The Studio School was an interesting augmentation because it was a direct transmission of the values of Hans Hoffman and a kind of perceptual painting underwritten by formal abstraction, as it rolled up through Cezanne, Cubism and the Studio School's version of Abstract Expressionism.

I think that color in painting can transmit kinds of experience because it's energy, but only if it's treated as such by the artist.