Sentences with phrase «paint on white surfaces»

The Arundel series of paintings, begun in 1973, [11] features barely visible graphite lines and accumulations of white paint on white surfaces.

Discover the land through innovative new game mechanics such as splatting paint on a white surface to uncover your surroundings.

Not exact matches

If scientists can get a good handle on exactly how the thermal effects play out, they could steer a threatening asteroid into a safe orbit just by painting parts of its surface black (to absorb heat) or white (to reflect).

A vertical cylinder with spiraling red and white stripes painted on its surface is made to spin on its long axis.

Here's a breakdown of what we did» * painted cabinets * got new knobs and pulls * changed out some drawers and made modifications to a few cabinets * added crown molding to the top of the cabinets * added lighting underneath the cabinets * replaced the counter tops with granite * tiled the backsplash * got all new appliances * purchased all new lighting fixtures * rebuilt the pantry * added a wall of cabinets including a desk area * leveled the bar countertop to make it one large surface * painted the interior of our home * replaced the old tile on our fireplace with stacked stone * replaced our white sink with a new stainless steel one

Step 1: Lay your necklace flat on a surface of your choice (I used a paper bag) and lightly spray your white spray paint until it's evenly coated.

If you prime first and then want to distress the edges to create an aged look, you will see the white layer of primer show up on your painted surface.

Or you might spray paint over the advertising so students have a white surface to write and draw on.

The concept rolls on specially manufactured 20 inch light alloy wheels and was painted in Diamond White Magno with a matte clearcoat to protect the surface.

Other improvements include new interior color options (black interior with white paint for all trims) and the addition of a new touchscreen surface that cuts down on fingerprint smudges.

On coloured surfaces, Cezanne made the light look cold by adding white to whatever colour he was covering, so return to the palettes we used when painting in the hot colours, and try adding 1/4 more white.

She notes: «The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other.

Known for her vocabulary of schematic linear constructions evocative of fantastic structures, tight to loose linear coils, and flat, template - like shapes, Greenbaum has steadily moved from drawing in thin paint on white grounds to layering the surface with different structures and gestures.

So does the less than friendly stereotype painted on a fountain's inner surface, such as booze for a Native American and the threatening face, at least to white eyes, of a black.

IL LEE offers the negative of his well - known ballpoint pen works — here a dark ground of oil stick and paint on canvas is rendered white by scraping lines into the surface with an ink-less pen.

1987 1987 Biennial Exhibition, Whitney Museum of American Art, New York (catalogue) Perverted by Language, Hillwood Art Gallery, Long Island University, Greenvale, NY (curated by Robert Nickas, catalogue) Reconstruct / Deconstruct, John Gibson Gallery, New York (curated by Robert Nickas, catalogue) Extreme Order: Cemin, Gober, Halley, Lemieux, Steinbach, Lia Rumma Gallery, Naples (curated by Collins & Milazzo, brochure) Primary Structures, Rhona Hoffman Gallery, Chicago (curated by Robert Nickas) Avant - Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles (catalogue) Paint — Film, Bess Cutler Gallery, New York Post-Abstract Abstraction, The Aldrich Museum of Contemporary Art, Ridgefield, CT (curated by Eugene Schwartz, catalogue) NY Art Now: The Saatchi Collection, Saatchi Gallery, London (catalogue) Generations of Geometry, Whitney Museum of American Art at The Equitable Center, New York Similia / Dissimilia, Columbia University Art Gallery, New York; travelled to Sonnabend Gallery and Leo Castelli Gallery, New York; Städtische Kunsthalle, Düsseldorf, Germany (curated by Rainer Crone, catalogue) The Castle, documenta 8, Kassel, Germany (curated by Group Material) Reinhard Onnasch Galerie, Berlin (catalogue) Anti-Baudrillard, White Columns, New York (curated by Group Material) Recent Tendencies in Black and White, Sidney Janis Gallery, New York (curated by Jerry Saltz, catalogue) Terrae Motus, Grand Palais, Paris (catalogue) The Beauty of Circumstance, Josh Baer Gallery, New York (catalogue) New York Now, The Israel Museum, Jerusalem, Israel (catalogue) 1986 Admired Work, John Weber Gallery, New York Spiritual America, CEPA Galleries, Buffalo, NY (catalogue); travelled to Stavanger Faste Galleri, Stavanger, Norway (curated by Collins & Milazzo) New New York, Cleveland Center for Contemporary Art, OH Signs of Painting, Metro Pictures, New York, and Donald Young Gallery, Chicago Painting and Sculpture Today 1986, Indianapolis Museum of Art, Indianapolis, IN (catalogue) Paravision II, Margo Leavin Gallery, Los Angeles (curated by Collins & Milazzo) Political Geometries: on the Meaning of Alienation, Hunter College Art Gallery, New York (catalogue) Post Pop, Michael Kohn Gallery, Los Angeles Tableaux Abstraits, Villa Arson, Centre National d'Art Contemporain, Nice, France (catalogue) Europa / Amerika, Ludwig Köln Museum, Cologne, Germany (catalogue) End Game: Reference and Simulation in Recent Painting and Sculpture, Institute of Contemporary Art, Boston, MA (curated by David Joselit and Elisabeth Sussman, catalogue) Ashley Bickerton, Peter Halley, Jeff Koons, Meyer Vaisman, Sonnabend Gallery, New York The Hidden Surface, Middendorf Gallery, Washington, DC Geometry Now, Craig Cornelius Gallery, New York Surfboards, Michael Kohn Gallery, Los Angeles Art and Its Double: A New York Perspective (El arte y su doble), Centre Cultural de la Funcacio Caixa de Pensions, Madrid; travelled to Fundación Caja de Pensions, Barcelona (catalogue) Rooted Rhetoric, Castel Dell «Ovo, Naples (catalogue)

Around 1966, one year before Reinhardt died, I was in France doing square paintings that were all the same, with the same pattern repeated — a black circle on a white surface.

Instead of diamonds and hearts there are soft and voluminous snow - white peaches, peaking out from a wall of crisp green leaves, gently rendered to achieve a level of sameness on the surface of the painting.

In particular, on the west side of the building next to tall windows, visitors will have a penetrating light to reveal the brush strokes of Arshile Gorky's iconic The Artist and his Mother (seventh floor), to inspect the surfaces of Jasper Johns's White Target and Frank Stella's magisterial Die Fahne Hoch (side by side on the sixth floor) and not far from the Hudson (turn around and look from the fifth floor window) a fluvial Cy Twombly grey blackboard painting from 1968.

John Corbett analyzes Wool's navigation between jazz - like improvisation and deliberate composition; Fabrice Hergott focuses on the artist's dialogue with the surface as a subject of the paintings; and John Kelsey digs into the artist's media - savvy black - and - white painted images: «Gestures go viral, escaping one painting and contaminating another.

In that picture the boys are white, and painted on linen — a highly difficult surface to control (ask any color field painter).

Ultimately, however, it was Cage's emphasis on the action of light and shadow on the white surfaces of these paintings that had the greatest impact on shaping their interpretation by art historians.

These patterns were produced by placing the heads of spray paint cans on white canvases and allowing the paint to spray onto the surrounding surfaces.

Despite O'Doherty's debunking of this context, the white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to websites such as Contemporary Art Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop screen.

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.

The show also includes graphite works on paper and paintings from the 1990's, which demonstrate Knifer's consistent reductionism, pushing «the meander» to the edge of the canvas to create nearly monochrome black or white surfaces.

He painted mostly on Masonite, using a palette knife to prime the surface with layers of white gesso, then applying each color minimally for maximum effect — one coat of pure color, straight from a tube.

He shows his range in these later works gleefully inventing and exploiting new spaces in the picture plane: 1951's Every Atom Glows: Electrons in Luminous Vibration is a delicate black - and - white oil painting, while his Alabama II, 1969, is a strong protest work — a rectangular field of red in which a triangular wedge evoking bodies marching or a megaphone's amplified language emerges in glossier red on the painting's surface.

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.

The white splat on the surface of the painting is at first comforting in being normative as a known painting gesture and as an understandable metaphor tied to the title.

On the second floor of the Oso Apartments (Spanish for «bear»), gallerist Paul Soto has plastered and painted every surface of his small one - bedroom unit a brilliant white.

Every surface is redolent of some other painted surface in the real world, from the uninflected white of the gallery walls to old frescos, peeling doors and the chipped enamel on playground railings.

Guston often worked on a wet wall of paint - a full - on surface of fresh titanium or titanium and lead white and started to draw.

Based in Bali for more than two decades, the Italian artist Filippo Sciascia is widely known for Lux Lumina, an ongoing series of almost black and white figurative paintings, based on photographic and cinematic sources; their impasto surfaces heavily worked by the painter, who runs a dazzling gamut of painterly techniques, to the point the painting's skin cracks and tears so skillfully by intuitive calculation that its disintegration seems to be instigated from the inside out.

In 1961, Eleanore Mikus, who had been working with white paint and wax on uneven surfaces, raised nuance to a very high and rigorous level.

Mary Corse's large white - on - white glass canvases have glass micro-beads embedded in the acrylic paint to create a surface that shifts dramatically with the light.

Since the 1950s, Ryman has used primarily white paint on a square surface — whether canvas, paper, metal, plastic, or wood — while harnessing the nuanced effects of light and shadow to animate his work.

«Nancy Lorenz: New Work» (closes on Saturday) Operating in the gap between painting and the decorative arts, Ms. Lorenz's latest efforts add to the history of modernist abstraction by way of seemingly gestural marks and lines fashioned from mother - of - pearl inlaid in surfaces of silver, white gold or palladium.

The gallery will also present graphite works on paper, and paintings from the 1990's, which demonstrate Knifer's consistent reductionism, pushing the meander to the edge of the canvas, creating nearly monochrome black or white surfaces.

A thick white oil ground - probably of household paint - was brushed on to the smooth face of the hardboard to give a hard, textured surface.

The surfaces are predominantly painted black; projected on these dark backgrounds like fleshly X rays are translucent, ghostly - white figures, their heads always cropped by the canvases» top edges.

Coupled with white shapes that could seem either solid or transparent, laying flat on the surface or implying a geometric solid, Held used these ambiguities to reintroduce the idea of imaginary space back into painting.

White Paintings, Black Paintings, and Red Paintings In 1951, Rauschenberg produced his monochromatic «White Paintings» - referred to by some art critics as hypersensitive screens which registered the smallest adjustments in lighting and atmosphere on their surface, and by sceptics as blank canvases.

When we meet, dozens of instantly recognisable Hume paintings — soon to go on show at White Cube's Mason's Yard and Hoxton Square galleries — cover every surface.

Central to the exhibition is a group of gradient paintings made exclusively with black and white acrylic exterior house paint that has been blended and forced through sheets of burlap laid face - down on a variety of objects and surfaces (from plastic tiles and garbage bags to silkscreened enlargements of Hagen's own high school drawings) that act as molds, effectively casting the paint, or becoming embedded elements in the surface of the works themselves.

Large - scale works like Dusk (2007) and The Dark (2007), which are on view in this exhibition, are examples for this technique, while works like So Long Black, Silver and White (2009) and So Long Black, Red, Yellow and Blue (2009) take this approach into her so - called Split Surface Paintings which pay homage to Barnett Newman and have been a prominent feature among her works of the last decade.

Since the 1950s, Ryman has used primarily white paint on a square surface while harnessing the nuanced effects of light and shadow to animate his work.

SELECT EXHIBITIONS — SOLO (S) GROUP (G) 2015 Context Art Miami, 532 Gallery Thomas Jaeckel, New York (G) 2014 Context Art Miami, 532 Gallery Thomas Jaeckel, New York (G) 2014 Ian Hughes Paintings 532 Gallery Thomas Jaeckel New York, NY 2013 Ten Artists Adelson Galleries Boston, MA 2012 Untitled Art Fair, South Beach, 532 Gallery Thomas Jaeckel, New York (S) 2012 Context Art Miami, 532 Gallery Thomas Jaeckel, New York (G) 2012 Ian Hughes Paintings, 532 Gallery Thomas Jaeckel, New York (S) 2012 Art Wynwood, Miami, 532 Gallery Thomas Jaeckel, New York (G) 2011 Aqua Art Miami, 532 Gallery Thomas Jaeckel, New York (G) 2010 Inside Out, Ian Hughes Paintings, 532 Gallery Thomas Jaeckel, New York (S) 2010 Aqua, Miami, 532 Gallery Thomas Jaeckel, New York (G) 2009 Paper in the Wind, curated by David Gibson, 532 Gallery Thomas Jaeckel, New York, NY (G) 2003 New Works on Paper, Victoria Munroe Fine Art, Boston, MA 2002 25th Anniversary Exhibition, The Drawing Center, New York, NY Watercolor: In the Abstract, conceived by Melissa Meyers, curated by Pamela Auchincloss and Alex Muse 2002 Michael C Rockefeller Arts Center Gallery, SUNY College, Fredonia, NY (G) 2002 Butler Institute of America, Youngstown, OH (G) 2002 Ben Shahn Gallery, William Patterson University, Wayne, NJ (G) 2002 Sarah Moody Gallery of Art, University of Alabama, Tuscaloosa, AL (G) 2001 Hyde Collection Art Museum, Glens Falls, N.Y. (G) Nina Freudenheim Gallery, Buffalo, NY 1999 Surfing the Surface, DFN Gallery, New York, NY 1998 Abstraction in Process, Artists Space, New York, NY; (G) curated by Irving Sandler and Claudia Gould 1991 White Room: Paintings, White Columns Gallery, New York, NY 1991, White Columns Gallery, New York, NY 1990 Hall Walls, Albright Knox Museum, Buffalo, NY 1989 Climate «89, Condeso / Lawler Gallery, New York, NY 1988 Drawings, Massachusetts College of Art, Boston, MA 1985 Selections 31, The Drawing Center, New York, NY

Similarly, in Cricket Painting (Paragrand)(2006 - 12) oil paint is laid on the canvas in acid hues of orange, green and blue, the surface flecked in places with splashes of paint, so that action of the image — a girl lobbing a cricket ball that hangs in the centre of the canvas like a white, full moon towards a boy waiting at a wicket — becomes secondary; a compliment to the dynamism and energy of the colours» relationship.

Included are works by supreme outliers such as Richard Hamilton, whose indelible un-artwork forever defined The Beatles» white album; Christian Marclay, whose non-sleeve allowed his Record Without a Cover to accumulate a lifetime of scratches; and Gerhard Richter, whose 1984 oil painting on the surface of Glenn Gould's revered Goldberg Variations leaves Bach's composition see - able but forever unplayable.