Belts tended to be
made out of canvas, leather or rubber.
Typically, most travel cribs are
made out of canvas or nylon material that is durable and breaths well.
The thing I really like about these sneakers is the fact they're
made out of this canvas material, which is perfect for summer.
Not exact matches
We might choose an artist to support monetarily or with encouragement and prayer for a month, connect with local artists and find
out what their supply needs are (paint,
canvas, etc. is expensive), invite an artist to paint live at an event, commission them to
make art for your family or one
of your church's ministries.
We love
making beautiful wall decor, from our humble beginnings in 1995 we set
out to create beautiful and affordable wall decor and from there we grew to become one
of Australia's premier wholesale
canvas print companies.
CHRISTINE STEWART - FITZGERALD: It's usually
made out of that more stiff, almost backpack kind
of canvas material, right?
For discreet men I'd recommend a simple belt
made of black leather and for guys who like to stand
out, I'd choose a Monogram
canvas belt.
There are five colors to choose from and the bags are
made out of durable
canvas with faux leather handles.
Think
of white as the clean
canvas to
make colorful and fun clothing in your wardrobe stand
out with style!
From Gareth Edwards delivering «Godzilla,» to The Russo Brothers
making very respectable work
of «Captain America: the Winter Soldier,» to James Gunn knocking «Guardians
of the Galaxy»
out of the park, to Ava DuVernay moving to a much larger
canvas with «Selma,» and Darren Aronofsky tackling the massive «Noah,» it's been such a phenomenon this year that we dedicated two whole features to it in the first half
of the year (When Indie Directors Get Big Budgets and Next - Generation Blockbuster Directors).
Instead, the hulls were constructed
out of plywood, fiberglass, and resin, and the sails were
made from
canvas; the lashings were done with synthetic cordage.»
He told him his uncle Ed Alison had gone up to the preacher after the funeral was said and shook his hand, the two
of them standing there holding onto their hats and leaning thirty degrees into the wind like vaudeville comics while the
canvas flapped and raged about them and the funeral attendants raced over the grounds after the lawnchairs, and he'd leaned into the preacher's face and screamed at him that it was a good thing they'd held the burial that morning because the way it was
making up this thing could turn off into a real blow before the day was
out.
Just an hour from Manhattan by car or train (the Metro North from Grand Central station follows this route) was the tiny riverside town
of Cold Spring, immortalised by 19th Century landscape painters from the Hudson River School, and as picture perfect a pastoral scene as those
canvases make out.
As a consequence, I stopped painting on
canvas and started to
make reliefs
out of construction materials.
the interview was very informative and it
makes good sense to approach selling art with a good business mind, I felt relief as I enjoy both the arts and commerce skills and see that selling is an art and an artist should not have trouble in designing a path that will work
out sales special interest groups in other social networks this is just another journey a new color on the
canvas I can do this thanks Cory your channel has been an inspiration I printed and sold 6 prints the first time I pitched I was selling prints
of my work all with in a week end among friends I have now professionally digitized my work for reproduction online and want to offer a nice web gallery and this is where it's scary I'm an artist not enjoying computer mode I moved from an area with an art culture in Cincinnati to rural where artist is odd man in town so this is nice chatting with creative people thank you to Melissa for her uplifting input as well blessings to all
Since he didn't
make studies, the usual practice for such large
canvases, Renoir needed to be familiar with the physiognomies
of his revelers, and he had to be able to coax many
of them to trek
out to Chatou to pose for him.
They were eccentric shaped
canvases made out of doors and still wall based, but breaking
out of the rectangle... Everything about Braque was the antithesis
of good painting, which was loose - limbed, open and daring.
That year, Stella also exhibited a series
of 30 - year - old sketchings he
made in Spain in the early 1960s that disclosed how he worked
out ideas about shaped
canvases.
The young Brooklyn - based artist presents a new group
of paintings
made from sheets
of plywood that she cuts into organic shapes and covers in
canvas, from an ongoing series she's dubbed «cut
outs.»
You can
make out a shard
of glass, a lemon peel, a bit
of garbage — but it looks like he's only touched the
canvas a few times.
Each
of these stretched -
out paintings (which are
made on separate abutting
canvases or, in the case
of Chemin de Peinture, a long roll
of paper) recapitulates nearly the whole
of 20th century painting from Constructivism to Abstract Expressionism, Neo-Dada, Minimalism and Neo-Expressionism, but because
of the extreme horizontal format, artist and viewer are constantly treading into unknown territory.
Borne
out of Modernist painting as well as «action painting» — a style
of painting in which paint is spontaneously dribbled, splashed or smeared onto the
canvas, rather than being carefully applied — this theme extends to present day, where brushstrokes fade away to innovative mark -
making techniques or performance and video.
A fitted bedsheet loosely draped over a large
canvas, it turns
out, was actually
made out of acrylic paint.
Sakaizawa's iterative process
makes similar use
of the
canvas, as layers
of paint, applied in dozens
of identical gestures, build
out beyond a two - dimensional surface.
I have bronzes
out in the studio right now that I'm painting and I'll pull a colour that I'm particularly excited about and apply it to a bronze and it's not like, then I staple a bronze to a
canvas, but I
make drawings
of the bronzes, too, so it's like self - cannibalism.
Each work is a vast picture
made up
of smaller paintings, which the artist cut
out and glued to the
canvas.
A showcase for her extensive arsenal
of techniques and ideas, her ambitious large - scale
canvases create patchworks
out of different manners
of mark -
making and toy inventively with questions
of frame dynamics and figure / ground illusions, often within a remarkably shallow pictorial space.
Additionally, Meckseper's wall works,
made out of store display slatwall panels and printed
canvases, highlight appropriated advertisings such as the packaging
of male underwear labels 2 (X) ist.
This extra-extra-large pizza, on the other hand, drips with wall power to spare, with pepperoni
made from painted
canvas and other toppings, like olives and onions, astonishingly created purely
out of built - up paint.
Making it was a simple strategy
of separating
out facts from feelings, choosing «givens»: the
canvas for the outer world
of facts, and poured paint (added to it in a mixed complex
of colour) for the inner emotional world
of feelings.
For the exhibition at Goodman Gallery, Lou explores the surface normally accepted as the ground for art — the
canvas —
making it into the subject
of the work, but instead
of cloth, the «
canvas» here is woven
out of unified, off - white glass beads.
In his paintings Moffett extends the traditional two - dimensional frame in a number
of ways, including converting the ordinariness
of the flat plane into highly textured reliefs,
making paintings that are opened up and turned inside
out, or presenting intricate illuminations through the use
of video projections on the
canvas.
Each work in Witmer's austere Winterbrook (2015 17) series
of six small panels brings
out a different relational quality between paint and
canvas: black wash opens up the flawed pores
of the
canvas grain; dense, dry paint marks the presence
of the wooden stretcher as in a rubbing; carefully applied, grey and white thinly glazed layers
make another panel's surface appear taut and tremulous like drumskin.
Always half showman, half recluse, Byars» announcement for a show in Amsterdam in 1975 invited the public to watch for «flash showings»
of his paintings in «quiet places
out in the city landscape» — situations consisting not
of canvases (
of which Byars only ever
made one) but
of actions where the artist dressed in a golden suit and held up a long gilt pole.
In fact, things become clearer when we find
out that the artist
made it by having a performance with the
canvas, as he danced around it and splashed paint all over its surface as if it was all some kind
of a ritual.
Back in New York in 1953, he
made paintings
out of substances as varied as gold and dirt, returning to paint to work, this time, primarily in red on
canvas enriched with fabric swatches, newspaper, and bits
of wood.
Bare
canvas and pencil lines visible between the stripes insist on the object and its
making, and so does the wood
of the stretcher, set thick dimension
out.
Her initial representational painting would be done from life,
out in the open air, then she would take the
canvas home to her studio and work over it so that it took on an emotional resonance — something she described as: «that memory or dream thing I do that for me comes nearer reality than my objective kind
of work».6 She painted on
canvas with a very fine weave and coated it with a special primer to
make the surface extremely smooth, blending one colour into the next,
making sure that the brushstrokes were invisible.
«The process
of making these is so slow and organic — like creating an aftermath or a debris field where you intuit, and sometimes actually
make out, the lives
of many generations
of humans, alongside nonhuman traces, and objects, all laid down under pressure — which take time to
make and are filled with that time, pieces
of what might have been a larger
canvas of handiworks that reference entire lives, whole communities that are brought into the field
of the painting, where the painting itself becomes another community,» described Sacks his painting method in a 2014 interview with Natasha Kurchanova published on Studio International.
Landscapes and Monochromes, a series
of collages on
canvas by Anna Ostoya, are
made out of economic cycles and numbers transformed into abstract images, where information is readable but missing.
Peter Freeman's potential sale (to an unnamed museum)
of a remarkable 1966 Marcel Broodthaers
canvas was one
of only a few institutional purchases I heard tell
of, though curators turned
out in full force: The Whitney's Adam Weinberg was in early, and was still on his feet at 6PM when Philippe Vergne, the Walker staffer cocurating next year's Whitney Biennial, joined him; Jérôme Sans and Udo Kittelmann
made early - afternoon rounds and then disappeared; and the New Museum's Lisa Phillips and Richard Flood («I'm going to C16 — I don't even know what's there.
In the show that first forged his artistic identity in 1991 at the influential Nicola Jacobs Gallery, Stubbs exhibited an extraordinary group
of paintings each
made of a stack
of canvases with thick paint oozing
out between them, their uppermost surfaces unambiguously decorated like a cake, with oil applied through icing funnels.
He also references tribal tribal tents that are
made from strips
of colored
canvas that are used «until the color ran
out and then they would use another color for the side panel, so you had all these arbitrary things going on, like a white and yellow tent with red and yellow on the side.»
Paris's Matthieu Haberard brings five new pieces — with a dark wood, epoxy, acrylic painting titled «Screen, where the touch, is a real sensation» (2015), a can - and - water sculpture called «Combine painting» (2015), a wood - and - electric cable piece called «Your time is running
out» (2015), as well as two sculptural installations
made of steel, plexiglas, acrylic on
canvas, titled «Marcel; Where the bulbs are?»
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.»
He often empties
out the middle
of a piece and positions non-representational components as if he were a painter
making marks on the left or right edges
of a
canvas.
He has rightly been regarded as a consummately perceptual painter — the interaction
of the dots covering his
canvases makes the most
out of a very limited palette — but what struck me about his oil paintings in particular was how tactile they felt, with the illusion
of space seeming to change, like the surface
of a mosaic, as you move from side to front to side.
She has been known in the past to use smoke stains and cow droppings to create her compositions, while she has
made more recent paintings by cutting forms
out of a stretched
canvas with a scalpel, allowing the cutaway pieces to hang off the work.
The kaolin works are generally
made from clay covered
canvases folded horizontally, or sometimes cut -
out squares
of canvas coated in the clay and adhered onto the
canvas; he created just nine large - scale relief paintings depicting folded cloth.
Rather than approaching painting as image
making, these painters were using the act
of painting to record the results
of personal, intuitive, subconscious dramas they were acting
out in front
of the
canvas.