Sentences with phrase «of drip marks»

I sanded it because it had been painted in oil based paint that had a lot of drip marks in it, and I wanted it smooth before I started my unknown creation.

Hoyland has encouraged the formation of drip marks and other accidental markings conferring upon the printmaking medium characteristics normally associated with his painting.

Much of the work made post 2000 consisting of paintings executed in a bold pop style with defining features of drip marks, iridescent colours and black outlines.

Not exact matches

Some examples of when I would sand first: The existing paint job is sloppy with drip marks that I want to remove.

Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works — his drip paintings — read as vast fields of built - up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural - sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces.

Within the paintings simple abstract structures alluding to architecture coexist with simple but vast fields of marks, drips and staining.

The notion of traditional mark making in painting takes on an entirely new perspective in Drip Painting # 7.

Indeed, the ambition is realised in superb gatherings of major figures; there's more Mark Rothko, Arshile Gorky, Willem de Kooning and Jackson Pollock here than you can shake a dripping paintbrush at, with many impressively wrangled from private collections.

Meshes of wide dynamic marks; improvised arrangements of grids and crosses and circles and splodges; jabs and drips, curves and swirls, overlapping or reframing each other; and colour, gloriously bright no - compromise colour, at the uppermost tones of red, pink, yellow, orange, blue and green.

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 technique negotiated a common ground between Pollock's heroic no - brush drip style and the expanses of saturated color favored especially by Barnett Newman and Mark Rothko.

Gestural markings appear throughout the composition: smatterings of gray pigment, dots, drips, and smudges, and some cloud - like formations.

Still, the rich, drip - streaked marks of Guirguis» paintings, and the soft glow of vermilion that emanates from behind their intricately cut surfaces, suggest an alternate understanding that prioritizes intuition, embodiment, and affect over official narratives.

Here the red figures of the couple and the delineated dark lines of the background surface meld with the swirl of dripped wax and the intricate field of markings of ink and watercolor.

The strokes were made with a brush loaded with red or black and painted directly onto a wet ground; we can see the speed of the mark, the downward pull of gravity, and the drips where they meet.

Next time you see one of his paintings, move beyond the simple paint markings on a canvas, but try to see a single note of sound unraveling in thick and thin, straight and curved, colorful and monochrome dripped lines.

Alÿs confronts issues of globalism through Sisyphean episodes: pushing a block of ice down the streets of Mexico City until it is melted completely (Sometimes Making Something Leads to Nothing, 1997); walking the streets of São Paulo and Jerusalem with a dripping can of paint to mark national borders (The Green Line (Sometimes doing something poetic can become political and sometimes doing something political can become poetic), 2005); and shoveling a mound of sand from one side of a dune to the other in Lima, Peru (When Faith Moves Mountains, 2002).

This image of the work turned on its side, made from an archival slide, documents the drips of white paint that marked the work's surface until Rauschenberg covered it with a fresh coat of black paint.

Other hallmarks of this new generation of painters, according to Greenberg, were thinned - out paint, a lack of an identifiable artistic mark (as in Pollock's «drips» and «skeins»), a focus on saturated and intense color, and a lack of interest in spontaneity.

Using spray paint on top of paint brushed marks, you can draw a line of references from Pollocks dripped paint (similarly applied from a distance), to modern day graffiti.

Like all the works of this period, Collection is held together, across its material disunity and the variety of materials out of which it is constructed, by a grid structure derived from the modernist tradition in which Rauschenberg was trained by Josef Albers, by the drips, stains and thick brush marks that create an over-all surface, and by the similarity of value shared by its range of colors.

See if marks, drips, patterns, or a sense of movement make it interesting.

His gestures now relied more upon the subconscious, but they were more akin to the linear «white writing» of Mark Tobey than the drips and flings of Jackson Pollock, incorporating symbols such as crosses and arrows.

His paintwork plays with our expectations of gestural mark making — drips, pours, and freely brushed elements often being revealed as controlled and lovingly - recreated representations of the «real «thing.

By laying the canvas on the ground, and dripping the paint onto it, the body of the painter was also immersed with color, the marks of his movement were also left on the canvas, as well as the ashes of the cigarettes the painter smoked while working.

At one point, the total abandonment of the recognizable object, that we saw as the 20th century progressed, and in the works of Wassily Kandinsky and Jackson Pollock, seemed to place color, marks, drips, at the center of the paintings, making the act of painting all about the painting itself.

She «paints» with layers of ribbon, dyed clothing, and hand - sewn textiles; the materials become marks, drips and washes.

Thin, horizontal striations of vibrant neon colors seem to liquefy and drip, creating an unusual grainy texture across the surface of the aluminum paintings, whose markings bear a kinship to rough textiles such as coarse, unprimed canvas.

Vibrant primary and secondary colors are densely layered, and the material plasticity of the artist's chosen medium is emphasized through drips and large areas of overspray, suggesting a sense of dynamic movement and revealing the gestural marks of the artist's process.

Here we can see the mark of her hand even at a distance; the lines have a softness, because Martin worked quickly to avoid drips in the fast - drying paint.

Following the pioneering «drip» paintings of Jackson Pollock, artists like Willem de Kooning, Mark Rothko and Barnett Newman developed their own distinct visual vocabularies.

The heading of action painting actually incorporates a number of different tendencies including splatter painting, drip painting and gestural mark making.

Sammy Peters produces abstract, multimedia compositions whose complex, layered images are made up of expressive brushwork, scribbles, gestural marks, drips, and collaged papers and fabrics.

Mark Handforth's upcoming exhibition at Sant» Andrea de Scaphis centers around a new work, Panda Disponibile, the carcass of a FIAT Panda, covered with lighted candles, dripping wax.

«action painters» - to use Rosenberg's term - here, and beneath the looping lines, drips and blocks of color that mark their paintings» surfaces, you can look to see deeper layers of painterly activity.

Instead, when Pollock dripped thinned paint from a stick or a brush, moving his wrist and arm fast or slow, wide or contracted, high or low in the air above a canvas, an almost infinitely variable range of linear marks fell to the canvas below.

Think 20th century abstract art and the mind automatically conjures up images of Jackson Pollock's expressionist drip paintings or Mark Rothko's cool intensity.

He thinks of them as «collaged» paintings — composed of a series of random brush strokes, marks and drips.

The play between various lines, the use of expressive marks and the drip of the paint in comparison to the repetitive rhythm or creation of a flat and decorative surface, all covey a different understanding of the world and the different, in a sense, sound of the visual language.

Chamberlain's paintings in this show are composed of a series of random brush strokes, marks and drips.

Modified to resemble a rocket and transferred to the canvas using fiery red ink, it is tilted upward, trailed by a bright orange plume of painterly drip marks.

The paintings in this show are composed of a series of random brush strokes, marks and drips.

Areas of blue at the top of the canvas and bottom sections of scumbled green — that evidence the drip marks of thinned paint — act as points of enclosure for a sandy colored swath which is punctuated by accents of red.

He employs a variety of marks, ranging from small drips dispersed across the surface, to broad horizontal and diagonal lines that appear to reference calligraphic forms.

Rendered in thinly applied automotive paint on aluminium sheets folded at the edges to form large industrial - looking trays, these impressionistic works, with their visible brush marks and gestural drips have, as the exhibition's title hints, the feel of half - glimpsed stories, the clarity of their message faded through time.

At the same time I want a rawness, where there are drips, stops, and irregularities of marks — or the way it slows down, or speeds up, or things get slightly out of control, pulling and distorting, so that you see struggle in the image.

Pousette - Dart's Abstract Expressionism, in «The New York Times», 9 October 1981, with ill.; Michael Kimmelman, Richard Pousette - Dart, 76, Dies — An Early Abstract Expressionist, in «The New York Times», 27 October 1992 «Suspended light presents an oculus form, circled by an oval framing edge, floating within an energized field of stained and dripped black pigment marks that evoke poetic association with the starry sky and sublime nature phenomena.

«Suspended light presents an oculus form, circled by an oval framing edge, floating within an energized field of stained and dripped black pigment marks that evoke poetic association with the starry sky and sublime nature phenomena.

The paint texture, marks and subtle variations in color, and bleeds / drips / rips of paint similarly create their own interference, breaking the illusion of depth and space within the pattern, and bringing the eye back to the surface of the paint, the «skin» covering the flat canvas.

The critics of high modernism celebrated the painter's mark upon the canvas, especially the first one - that initial splatter, spray, drip, zip.