Sentences with phrase «out of the canvas into»

(Note: While the press photo of Snyder's Beanfield below will likely remind the viewer of Monet before evoking Guston, a detail snapped by a visitor to the gallery reveals a different painting: one with vigorous, loose paint handling, and «bean sprouts» that seem absurdly to grow out of the canvas into three - dimensional space.)

Rendered in three dimensions, this handcrafted cannon juts out of the canvas into the gallery space — a prime example of Morley's interest in heightening the viewer's sensation and experience of his work.

Not exact matches

She gathers up the scraps of pie dough, scrunches them together, and then rolls them out into a level canvas on the steel work surface.

City were on the canvas - bloodied - as Mane fired home a rocket into the top corner and Salah punished a poor clearance from Ederson by lofting an effort over the out - of - position Brazilian.

Some of your photos will hopefully turn out so well that you will want to get them turned into premium canvas prints and become a unique focal point on the wall of your family home.

I can not wait to get out of it and into the forward facing one which is not what I want to do but can't keep using the rear facing as its too flimsy the hood doesn't come down far enough and needs a UV shield (if you get rid of the canvas!)

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Pounding out aggression on the canvas and into our hearts, the best boxing movies capture a private sense of poetry in the most unlikely of places.

One of the things Skyward Sword really got right was dragging larger action beats and puzzles out into the overworld - with its vast open canvas, Breath of the Wild supercharges this idea.

There are loads of mind mapping software's out there but Scapple's endless canvas, that you can keep adding and adding to, and easy import function, gets your ideas as notes into Scrivener, wins it for writers.

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.

Joan assessed the crowd, lighting upon the most interesting: young men turning white T - shirts into art, pinching the material tight and rubber - banding each section until they looked like porcupines being dipped into huge steaming vats of colored dyes; the young woman with a bird's nest of purple hair sitting at a potter's wheel, slamming down hunks of clay, her hands moving nearly as fast as the wheel, cups, vases, plates, bowls, trays, appearing like magic; the elderly man in a worn blue linen suit, a jaunty straw boater on his head, a smeared palette tight in his hand, painting a mammoth canvas of people on a beach staring out at an ocean where a sailboat bobbed in the distance, though he himself was standing in a mowed field; the handsome young man at an old - fashioned school desk, a manual typewriter in front of him, a stack of paper to the side.

The flower shapes, emblematic of the Matisse cut outs, sink into the canvas to create a stunning abstraction yet they're lifted by the texture of the brushstroke or the impasto of the paint.

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.»

To do that, Frankenthaler diluted her paint, thinning it out so it melted into the weave of the canvas and became the canvas.

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.

Arguably — and often labeled — the greatest painter of his generation, Luc Tuymans signals in every canvas the necessary limits of the medium, even the coda to its drawn - out death: his reliance on fleeting photographic and filmic imagery, his refusal to spend more than one day on a canvas, and perhaps most of all, his indifference to craft bring the Belgian artist into head - on confrontation with painting, and endow his subjects — from the untouchable (the Holocaust) to the pedestrian (flowers, pigeons)-- with an unmistakable air of violence inflicted.

The crude texture of her characters» skin, the brash and deliberate outlines that define the exaggerated figures within tableaux, the patches of thinly applicated paint that barely cover the ground, or the dug - out passages of drawing that carve into the surface, are all archeological — as if she was unearthing some hidden pattern that was embedded into the canvas all along.

When younger artists like Christopher Wool or Richard Prince set words to aluminum or canvas, they take aggressive, nasty jokes out of mass culture and turn them into aggressive, nasty jokes about art.

Among the very large works are BK - 002 (2006), image above, BL - 060 (2005), a twelve - foot wide blue ballpoint pen work on canvas that suggests the solid mass of a hill suspended above or dissolving into nothingness, and BL - 071 (2005), a similarly massive work that offers up another motif common to Lee's works on canvas and paper — a field of seemingly vibrating forms appears out of an expanse of markings.

Here, a glistening scarlet carcass, streaked with orange fat and sliced open to reveal a skeletal Jacob's ladder of parallel lines, seems to tumble out of the canvas, one thigh cocked as if it were kicking itself up into a headstand.

Always to be counted on for pushing the perimeters of her intensely optical abstract paintings, this show finds Ferris, now 41, experimenting, rethinking, slowing down, mixing marble dust into her oil paint, laying down stenciled polygonal shapes, wiping out areas of canvas, leaving severe spray - painted black lines as structure.

The film will be accompanied by an installation that includes Hershman Leeson's own (blurred) version of the Carlotta portrait, which, through a Go Pro Camera peeking out from the canvas, will capture the viewer's movements and edit them in real time into a 3D installation that includes scenes of the film.

Of the themes that define my waking hours and whose influence is undeniably woven into in the work, the most palpable one, playing out on the canvas of late, is an obsession with time — as a resource, as a thief, as a constant shadoOf the themes that define my waking hours and whose influence is undeniably woven into in the work, the most palpable one, playing out on the canvas of late, is an obsession with time — as a resource, as a thief, as a constant shadoof late, is an obsession with time — as a resource, as a thief, as a constant shadow.

Just as the artist Natalie Frank has begun to attract widespread attention for her expert paintings that collide art history, theater, and dread - inducing violence, she has deked into a new direction with her latest works, which trade her customary canvases for wooden board that she paints with enamel and then overlays with patches of cut - out canvas that she paints with oil.

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.

Kazimir Malevich, Painterly Realism of a Football Player — Color Masses in the Fourth Dimension, 1915 Oil on canvas 26 x 17 inches March 2 — April 30, 2011 I have transformed myself into the zero of form and dragged myself out of the rubbish - filled pool of Academic Art.

He was only 23 when he arrived in New York, straight out of Princeton, and produced his now - historic «Black Paintings,» a series of large - scale, austerely monastic canvases divided into right - angled patterns of horizontal and vertical stripes.

The installations take her work on canvas out of the studio into a larger context in which she can isolate certain specific concerns.

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.

Colen's more recent work with gum strikes out in a new direction: in All Mops and Brooms and Marbles in My Mouth (both 2015), vast quantities of gum have been melted into a sludge - like paste to daub the vast, panoramic canvases.

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.

Rather than thinking of them in terms of Minimalism, she remembers, he told her they were «about the discomfort he felt in figuring out how two colors can rest next to each other on a canvas, and solving it in the most explicit way possible»: using colored vinyl as a readymade material, stretching it into rectilinear shapes, and composing based on color and formal relationships.5

Donzeaud's experiments in turning a plastic used for containers into flat screens that adapt to the walls of the indoor space are stretched out and over a frame; sometimes hanging like a canvas in «Untitled PE (Caring 01)» and «Untitled PE (Caring 02, 03, 04)» or jutting out of wall and becoming a sort of installation - sculpture in «Untitled PE (Caring 05, 06)».

It's almost as if the backgrounds jumped out of the portraits and came into focus on their own canvases.

The doorway - sized canvases, which look out into the boundless western colored landscapes, create the illusion that we are experiencing the painting form of the John Ford movie, The Searchers, where the truth sits attainable...

In From Point, Lee's thoughtful and philosophical outlook is transformed on the canvas, with the inevitable naturalness of water seeking its own channel, into pulsating rhythms that reach out to the viewer and communicate a state of mind.

Saying this, there is a will to break out of the conventions and free painting from the reigns of the canvas and frame, Off The Wall and into the space of the gallery.

In addition to canvas collages, Loving also began piecing together torn strips of paper and cardboard into massive compositions that he would paint in a variety of colors and mount to metal supports so that they jut out from the wall, causing shadows that in effect became part of the overall composition.

In many of these canvases, arseholes and penises become sources of illumination and cinematic projections: Chandelier (all works 2016) depicts a man hanging from the ceiling, projecting light from his bum, while in the Freudian - sounding Ding Dong Dream, an erect penis beams out the image of a smiling baby into a dark void.

The small gallery is filled with soil that had been sculpted into an uneven terrain, including a couple of canvases that came out of the earth and leaned against the building's walls.

A second white line shoots out horizontally from the center line with a thickness and slowly tapers off into just a slight glint of white light, reminiscent of minimalist painters like Frank Stella and his late 1950s canvases, where the fine white lines are actually unprimed canvas penetrating outward through the black paint.

I'm into figuring out how to put the drawing onto a canvas so that it becomes a part of the painting history dialogue, and not part of a computer, or digital art dialogue.

In contrast to other artists working with shaped canvases, Lukin kept pushing his forms further out into the viewer's space without ever letting go of the wall.

By the late 1970s the visual conundrums on canvas became cut - out physical forms of painted aluminum, collaged and assembled into wall - hung sculpture.

Selected digital configurations are then transferred by hand onto the canvas, fusing computerized color scales and painterly gesture into sublimely wrought pictures that feel simultaneously out of time and of the moment.

In bright and dynamic canvases he sets out to solve conceptual problems, to incorporate street culture into fine art, to pay homage to great artistic figures of the past and to examine and question the role of the artist.

By pouring her acrylic pigments (she works almost solely with black and white) directly onto glass and letting them dry there, she can then slice into the pigment and, having cut out a cartouche or a length of filigree, can carefully lift that segment of limp paint from the glass and position it upon the canvas.