Sentences with phrase «move paint through»

Not exact matches

Biker gangs and the Mafia own galleries and move stolen paintings and forgeries to one another through auction houses, which turn a blind eye to the proceedings and quietly pocket their commissions.

There are also a number of grandstanding moves he'd make to get publicity (e.g., ordaining an openly gay man to the priesthood in a very public PR blitz only to defrock the guy a few months later because Spong was so concerned about ordaining a gay candidate that he didn't bother to go through the necessary discernment process — this PR move really impacted some very qualified homosexual candidates who were all painted with the same brush.)

Mommy just doesn't want to have to set up all those paints, watch you completely soak through a single sheet of paper with seven layers of paint, and then move on to the next thing, leaving her to clean up.

In a clear rejection of the Labour government, the country looks as if a tin of blue paint has been spilled across the South coast through the Midlands with streaks moving North.

Just past the town of Almere, as you round a right - hand bend, you will find a sight unseen in Europe for centuries, if not millennia: hundreds of red deer, plodding groups of long - horned wild cattle, and skittish herds of low - slung brown horses, all moving through the open landscape like something out of a cave painting.

Pretty sure they moved everything back in before the paint was even dry (I remember walking through the Mermaid Loft in socks because the painted wood floors were still tacky!).

Swap heads, paint with light, paddle in a virtual fishtank and see live moving images of Edinburgh projected onto a viewing table through a giant periscope.

Set backstage at three iconic product launches, beginning with the Mac in 1984, moving through the NeXT in 1997 and ending in 1997 with the unveiling of the iPod, the film aims to take audiences behind the scenes of the digital revolution to paint an intimate portrait of the brilliant man at its epicenter, Steve Jobs (Michael Fassbender).

for me I still play mario 64 now as we speak, It's stil very unique concept think about it, jumping through paintings in the love of your lifes houses who has cameras follow there moves to observe marios moves that was interesting, Galaxy is pretty far out there.

As the painting moves through each owner's hands, what was long hidden quietly surfaces, illuminating poignant moments in multiple lives.

Throughout the novel, Hay moves back and forth through Elsie's years, giving the reader introspective looks into her life: from her days as a vibrant, adventurous young woman to her years mothering her twins, Elaine and Don; from the time she stepped out of her ordinary life to have her portrait painted to the present day, when she looks into her mirror at «the facility» and says to herself, «I have no idea who you are or why you're here.»

In this wonderfully warm, humorous, and moving novel, Patricia Gaffney paints a rich portrait of this delicate yet resilient bond through the lives of four charming.

This involves moving the reader seamlessly through content (sometimes between sections of the material that are not connected) in a way that paints a picture in their mind, conveying your point through associative thinking.

If words paint the clearest pictures of what go through people physically and psychologically, moving pictures can better concretize description for the audience to comprehend the presentation as quickest as possible.

A network of little pathways through the rubbish are made, moving coconuts and old rusty paint cans out of the way so the wheelbarrow can transport one basket at a time to a pile at the back of the dump, glass crushing facilities, a modest concrete building with one room for shade for equipment and a small tarped area to sit and shell the lids off in a little bit of shade!

- character creation lets you choose skin color, face, eye color and haircut - later in the game you can get glasses, pants, shoes and other stuff - start off by meeting Tom Nook and his posse of Happy Home employees - this includes Lyle the Otter and Digby the Dog, who give advice and help to keep the game moving forward - Lottie the Otter is Lyle's niece and handles the front desk in the game - she welcomes you every time you boot up the game and tells you what to do next - gameplay starts off with placing furniture, but quickly evolves into something more - place a house on the world map and cycle through seasons to see what you like - house can modified with different roofs, doors, colors and more - every animal unlocks new furniture for you to use - completing a lot of requests is vital to getting a lot of content - characters will react to everything that you place and remove in the house - three pieces of furniture must be in or outside of the house and these need to implemented into the final design - if you don't follow this rule, your animal customer will not approve - add wallpaper, carpets, lamps, signs, music covers, paintings and much more - by completing special objectives in the office, which you pay for with Play Coins, you can even expand the feature set - set background sounds, choose curtains, change up furniture, display fossils and get a bigger variety of fish and paintings.

All your cards are always laid out in one horizontal row on the GamePad that you need to scroll through instead of having easy classification, and the game both encourages you to add paint to selected moves for extra power and then do another input to finally start using them.

Valkyria Revolution paints a dramatic tale of war and revenge through the GOUACHE art engine and features a moving musical score by famed composer Yasunori Mitsuda.

It's a simple idea: you paint the floors, then swim through your paint to move faster and reload your gun, and it works beautifully.

You can ambush the invaders by moving silently through paint splashes of your team color.

Players will also get a speed boost while moving through those paint trails.

As soon as the shutter clicked, they moved through the scene with their trail being painted onto the camera sensor.

He used to talk about dark - light design and moving through the space of the painting.

She had moved to New York in 1967, still in her twenties, and she was working alongside artists like Brice Marden and Robert Ryman who kept painting alive through Minimalism and beyond, when right - thinking people deemed it dead.

Moving on to 1954 and the low - keyed eighth painting in the series (now in the Museum of Modern Art, New York)-- greys, blues, muffled yellows on a surface just over six feet high by three and a half feet wide, a motor metropolis of tightly curving ramps with headlight beams spreading like stains suggest a vision, slightly smudged, as if seen through the thick glass window of a skyscraper; at any rate remote from the scene of automotive nightmare.

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.

On view in the contemporary wing from October 25, 2017 through March 18, 2018, Front Room: Njideka Akunyili Crosby Counterparts includes six visually stunning mixed - media paintings on paper that draw upon the artist's experience of moving from Nigeria to the United States, maintaining ties with her family in Nigeria, and building relationships in America.

Paintings exist in the present tense, yet somehow, because of how it's structured, it can move backwards through time as well... That present tense - ness is the deepest pleasure» — David Salle «There is art that reflects the singular self, and there is art that reveals a nonsingular, fragmented self.

They move from a small Pollock and Andy Warhol electric chairs through a brushy white painting by Robert Ryman.

Hailing from one of Stella's most fruitful artistic moments, Lettre sur les sourds et muets I anticipates the artist's move to three dimensions with its throbbing, tunnel - like composition that at - once affirms its status as a flat painting and attempts to transcend that fact through deft optical maneuvering.

Starting with lost and «abandoned» footage created by Deren, McElheny has re-filmed, deconstructed and extensively processed these moving images to suggest a world of abstraction that sometimes coalesce into bodies or objects, or, in reverse, where mannerist bodies passing through the painting seem to dissolve themselves into granular abstraction.

On view in the contemporary wing from October 25, 2017 through March 18, 2018, Front Room: Njideka Akunyili Crosby I Counterparts includes six visually stunning mixed - media paintings on paper that draw upon the artist's experience of moving from Nigeria to the United States, maintaining ties with her family in Nigeria, and building relationships in America.

The line cutting through the oil paint is never a clean dark path — the stylus makes an edge and the oil paint moves away in its own fashion; also the areas of white oil color have their own character and vary in density resulting from Lee's method of application.

At this space, the figure of a female nude tied to what looks like a torture device is the disturbing central image of a nine - panel 1975 painting called «Moving Through» by the American artist Juanita McNeely.

Since the dawning of Modernity painting and the plastic arts have moved farther and farther away from the blatant lies perpetuated through the fallacy of caricature and representational imagery conjured from the world around us.

Her paintings describe everyday, even mundane, scenes that are deliberately truncated or hacked to provide a peripheral vision as though seen through a moving vehicle.

Moving through Eric Brown's «Vice Versa» exhibition at Ille Arts in Amagansett, one gets the feeling his painting practice is...

ARTILLERY BEST IN SHOW 2017 Moving well past a theme dominant in recent contemporary fine (and popular) art, Friedman's brilliantly curated (and gorgeous) show of painting saw us through to a deeper, more complex and nuanced — and richly generative — consideration of identity in the 21st century

Juxtaposing installation photographs, catalog essays, and contemporary press accounts, this book documents and analyzes twenty - five exhibitions from 1962 through 2002: Dylaby, New Realists, Primary Structures, Arte Povera + Azioni Povere, January 5 - 31, 1969, When Attitudes Become Form, 557,087, Information, Sonsbeek 71, Documenta 5, The Bulldozer Exhibition, The Times Square Show, A New Spirit in Painting, Les Immatériaux, Chambres d'Amis, Second Havana Biennial, Freeze, China / Avant - Garde, Magiciens de la Terre, Places with a Past, 1993 Whitney Biennial, Traffic, Cities on the Move, 24th Sao Paulo Biennial, and Documenta 11.

The paintings of the two artists were arranged on the walls so that the viewer could see the work of one painter with that of the other close by, moving chronologically through time so that, in walking through the exhibition, the viewer could see how each artist developed over time, both on his own, as well as in relation to the other.

The work moves through several recognisable phases: from the carefully constructed figurative pictures of the late 1940s; into various degrees of object - based abstraction; to an even simpler sort of still life painting in the 1970s and early 1980s.

Historians have argued that the work stands as a precedent both for the artist's own performances in the 1960s and for the explosion of performative work in that decade.20 Paul Schimmel astutely places Automobile Tire Print on a trajectory of performative works based on the notion of capturing an indexical trace, reaching back to Pollock's drip paintings, moving up through Rauschenberg's blueprints, and on to Piero Manzoni's Lineas (1959 — 61), Paul McCarthy's video Face Painting — Floor, White Line (1972, fig. 5), and Ulay and Marina Abramovic's 1977 performance Relation in Movement, in which they drove a van in a circle for sixteen hours, leaving a circle of oil drips and tire marks on a public plaza in Paris.21

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.

By the mid-1950s, Calderara began to move away from figurative painting to embrace a more geometric approach, radically reducing both the scale and the compositional elements of his paintings through use of simple forms and flat blocks of nebulous and subtle colour.

The Annunciation is an installation of three projected images in which one of the central motifs of Christian iconography and Renaissance painting is constructed and re-enacted through moving image.

Chicago - based painter Andrew Holmquist thinks and works through multiple mediums to reflect — not only on the act of painting and its central position in his practice, but also the (primarily male) body moving through space.

As such, Untitled, «is a constant effort to remember each step of the process of moving through life... each painting is in one way or another a souvenir of a motionless journey across the land of memory» (Francesco Bonami, Rudolf Stingel, Gagosian Gallery, New York, 2011, p. 8).

In this show the serenely sphinx - like faces are a template through which the artist can systematically explore the concerns of painting and drawing, not ignoring the sentimental implications of rendering a human likeness, but by their blankness and repetition allowing the viewer to move on to other aspects of the work besides «who is this» or «what can I learn about this person.»

Beginning with loose references to flora and fauna, Sausele - Knodt creates shaped paintings that deftly move the viewer through a series of shifting and fragmented picture planes.

Moving well past a theme dominant in recent contemporary fine (and popular) art, Friedman's brilliantly curated (and gorgeous) show of painting saw us through to a deeper, more complex and nuanced — and richly generative — consideration of identity in the 21st century