Sentences with phrase «over the painting seems»

A dozen times over the painting seems to undermine itself, but it refuses nonetheless to be undermined.

Not exact matches

If value resulted merely from scarcity, then postage stamps, coins and master paintings all would seem to increase almost automatically over time, just like most land does.

On a recent morning at the Metropolitan Detention Center, sitting in a plastic chair in an airless, glassed - in booth in what resembled a large hospital waiting room — minus the televisions, the pastel watercolor paintings, the magazines and the windows — Mr. Espada seemed shorn of the grandiloquence that those in Albany had come to know so well over the two decades of his singularly unruly political career.

When the researchers painted over the moth's eyespots, the mimicry seemed to fall apart — the spiders did not perform courtship displays, and instead spent some time examining the moths, then ate them.

As the art world seemed to storm its way down the international catwalks earlier this year, splashing paint, and various arts and craft influences all over garments and accessories, I thought I would honour this with the DIY prompt.

Like you said, it could just be the lighting, but that does seem odd... Are you painting over white currently?

The realism of the film is one of the factors that makes it so great as it uses long takes and what seems like guerrilla styled filming at times to paint a detailed picture of the hardships of simply trying to survive whether it be a child passing time by scamming money for ice cream or a young mum trying to keep a roof over her daughter's head.

Jennifer Lawrence is over the blue paint, it would seem.

Tape off the tire: Most of the time we over spray the paint which get deposited on tires and seems ugly.

Speaking of the Maxx, it seems the new blue paint job hasn't made its way over to that device just yet.

They also range in quality: Some are freshly painted and sturdy; others seem a strong wind away from toppling over.

Splatoon 2 doesn't seem to make major leaps over the original, keeping the same premise — spattering paint guns to cover as much of the stage for your squad as possible — and even some of the same content.

I can't seem to find my style or niche (my subject matter and type of painting is ALL over the board) and I'm having a hard time finding the confidence to actually pick up the brush again... nevertheless market my work for sale.

No one, myself included, seems to have been bowled over by these paintings, which should serve as a cautionary note that there is an occult or shadow history, which is not a chronicle of rave reviews, glitzy museum exhibitions and news - making auction records, paralleling the conventional one.

In fact, the dominance of the term «abstract expressionism» over «action painting,» which seemed more applicable to Pollock and Willem de Kooning than any other members of the New York School, is emblematic of the influence of formalist discourse.

In one, a head seems to be trying to eat itself, the mouth engorging the nose and the eyes in a hideous cycle of self - consumption — unless perhaps the painting itself is taking over.

A disembodied hand peels back and paints over layers of imagery that seem unending.

With Whitney, you never get the sense that the completed painting has been locked down; it seems to remain malleable, as if the artist could come back and do something else to it, cover a rectangle with a different color or even start over.

His style of painting has had all manner of description attached to it over the years, including «thrift - store,» which is to say that at first glance his work may seem slap dash.

To make them Wittenberg lays printing glass over an ink study and paints in the images, allowing her to condense certain structural marks in unusual and counterintuitive ways so that instead of feeling modeled out of brushwork, they seem to be whirled onto the surface.

These large paintings offer forms that resemble vases and other still lifes painted over shiny carborundum that makes them seem to flutter and sparkle.

Here it comes in the form of a pale, 1960s Wallace Berman image of the moon's remote surface overlaid with cryptic writing; a black - and - white Vija Celmins screen - print of the vast, horizonless ocean that appears to carry a faint «X,» as if the printing plate had been canceled; a ragged piece of fiberglass painted with a Tiepelo - like sky by Joe Goode, who seems to have ripped it from either the actual heavens above or a movie - studio set; and a photographic close - up of shifting desert sand, over which actual sand and colored pigment has been applied by David Benjamin Sherry, as if reality were a veil obscuring camera - created truth in our mediated universe.

Frank O'Hara added to this praise, writing that Kahn's «paintings are very beautiful and very serious; very rich and very sad... he seems to brood over nature at the same time as he represents its exquisite moments.»

All - over painting worked so hard to distinguish itself from decoration in no small part because it seemed anything but different.

A maximalist, or complex visual aesthetic, seems to loom large over much of the painting and installation on view, although quiet nods to art's minimalist past appear throughout the galleries.

Yet it also put structure over medium, and it seemed to make the lushness of color - field painting or even painting itself a thing of the past.

Nicholas Serota has talked about the extraordinary control in those late paintings, where they seem to be quite wild and yet the enormous scale of them makes them a triumph of control over the gestural.

They also squabble over how to photograph the striking scenery and sunsets (projected into the movie at odd moments, the photographs seem like old - master Dutch paintings), hone their depression and fear of illness, discuss the folly of the war in Iraq and watch a group of machos at target practice.

This influenced Kauffman's conception of his series of Loops, in which sheets of spray painted Plexiglas seem to casually droop over a wire.

Touch (1999) resembles a fingerprint whose whorls are limned in dust, while several other paintings explicitly recall the warp and weft of finely woven gauze as the marks seem to float like mist over the painting field.

Lewis» Untitled 1965, in which thick purple paint seems to melt over a field of greys, is a fabulous painting.

Though they don't seem uninformed, many of his paintings look like they could have been made any time over the past hundred years.

Julia Rommel's paintings seem to highlight their frames, having been stretched many times over during their creation, whereas in truth the main bodies of the canvas are often intensely wrought through a process of layering and erasure that she likens to a fight: «I've found myself taking elaborate steps to keep my own signature away.

Although these paintings may seem capricious, they are carefully created and reworked over the course of six to eight months.

When Owens was a graduate student at CalArts, she not only survived her first «painting is over» chatter in the early 1990s (having resisted it myself, it seems super lame now), but also the January 1994 Northridge earthquake.

A monumental monochromatic field of subdued color fulfills the role of straight - man to Prince's comic texts, sometimes presented plain and direct, sometime articulated in ghostly printed letters that seem to wax and wane in intensity across the canvas, and in the case of Untitled (Check Painting) # 13, text that has a material quality — painted over literal paper checks embedded into the canvas surface.

And like everything else about painting, it seems to change and grow over time as I also evolve.»

They seem to be an attempt at extreme synthesis rather than meticulous refinement; a synthesis of personal obsessive renderings of the fragmented body, that had always lay hidden in the «all - over» works, combined with, and intensified by, the technical innovations he had made while working upon the drip - based paintings.»

The images depict the aftermath of what seems like a rather unconventional party, one where kids perhaps tripped out on electronics, paint - ball and movies, over soda pop and possibly cake (one with a basketball seemingly embedded prior to being eaten).

Within the continuously unraveling and reknotted tapestry of art and psychology, materials and meaning, Schwartz's work would seem to close one particular loop, in which «access to unformulated experience» — the inchoate mass of emotions meeting the inchoate mass of paint — is processed through the knowledge and instincts of someone practiced in both, and who knows the limits of one over the other.

However, for Hofmann, the possibilities of painting always encompassed divergent approaches; the geometric and the curvilinear, the thickly impasted and the thinned surface were all concurrently viable throughout his career, although there were periods when one set of problems seemed to take precedence over another, such as in his 1941 - 1943 landscape studies.

Looking over her recent paintings, she seems to prefer selective use of heightened brightness.

Especially engaging are several paintings made on burlap stretched irregularly over what seem to be branches; these have a curious but genial drawing - in - space presence.

Features that once drew their meaning by seemingly not being his, now seem to be almost compulsive traits: we imagine Polke still obsessing over minute printing errors, over the aleatory stretched effects made by moving an image while it is being photocopied, over the bacterial and toxic - looking residues brought about by mixing resins and paints with foreign substances.

Riley's early paintings are American in their Pollock - like, rollercoaster sense of space, and the way they are not designed like pictures within a frame but seem to invisibly carry on over the edges of the canvas — what American critics at the time called «all over» painting, and rightly saw as tremendously liberating.

With frank honesty, Richter admits his regrets over these acts of self - destruction which have cost him millions of dollars in potential sales (which he doesn't seem to care much about) and have cost us all valuable landmarks in the progress of 20th century painting.

Up until Pollock started whizzing paint about and Warhol got fixated on soup cans, it seemed imperative for most American painters to get themselves over to Paris to connect with the art centre's innovatory spirit.

Nowadays, I seem to finish paintings two or three times over the course of a few months, slowly making more and more extreme «final» decisions as I go.

As Lisa Phillips writes in her introduction to the catalogue for the artist's first retrospective at the Whitney Museum in 1992, «They seemed to be a joke on painting and a joke on the idea that art is something to be labored over.

It seems impossible to consider, but Judd did not realize his now - exalted masterful wielding of materials until the close of the 1950s, having spent well over a decade discovering and cultivating his craft with largely fruitless forays into painting.