Sentences with phrase «paint out of that same»

But I think you're the perfect reader because you paint out of that same conceptual framework, I want to introduce your work to everyone.

Not exact matches

Though the same bakery went out of business in the 1970s, the name of the bakery was painted long ago on the side of the building and still remains, though faded.

«But it will paint a negative picture of politics in New York in terms of the revelations that come out of these cases — in many of the same ways as the Bridge-gate case in New Jersey had nothing to do really, as it turns out, with Gov. (Chris) Christie — but it painted a bad picture of how that administration was dealing with its political foes.»

I also cut a circle out of the decorative metal to make a «floor» for the cloche and spray painted that at the same time.

Once in the backwoods, Melanie: reunites with sour Ma (Mary Kay Place) and dour Pa (Fred Ward), both actors modeling their characters on Grant Wood's necessarily two - dimensional painting «American Gothic»; «outs» poor Bobby Ray (Ethan Embry)-- in the real world, they'd probably have been hung from the same pole flying the Confederate Flag outside the local watering hole; and delivers the most embarrassing monologue since Phoebe Cates's in Gremlins to, of all things, a license plate marking the burial spot of a «coon dog» named after legendary Crimson Tide coach Paul «Bear» Bryant.

The Magic Castle is full of families like Hailey's and Moonee's, as are the numerous motels in their corner of Orlando, Florida, separated from one another by water - clogged green grass, garish stores like temples to excess, and hollowed - out, abandoned tract homes painted in the same Disney-esque colors.

This overall mood is bolstered by Phillip Lathrop's cinematography, whose washed - out colour palette paints the city with the same grit and severity of the Driver navigating it.

Then hand - painted to bring out all of their ghoulish detail (and to ensure that no two are exactly the same).

There are so many great films out there... and all the quality movies deserve recognition... but The Revenant is simply an astonishing achievement, and i am not surprised at all it just wins awards after awards.Let's see if it also wins the Oscar.I agree that this film is not for everyone, and many just don't like it.But movie is art, and just like art... some people love it and some not.Like a painting... even if we all look at the same painting, some of us will see more in it.It is the year of Alejandro G.Inarritu, the year of Leo..

A good resource to develop painting skills for GCSE and A-level - looking at the style of Viera Da Silva copy her work out using the same techniques.

The same old story emerges in how certain education reformers paint pictures of corrupt, black school boards in urban districts that teach out - of - control students.

He took out a set of paints from his bag and began painting us different pictures of the same seaside sunset.

In retrospect, Excitebike 3D was the first taste in the «old is new» philosophy Nintendo has used for its first generation of 3D titles, and is this is the result of how Nintendo will handle remakes and updates, I'd be less opposed to them trotting out the same game with a new coat of paint.

Problem is, it doesn't do a great job of convincing — in every game they profile, the DX9 and DX10 shots look exactly the bloody same to me, even though the captions are pointing out «flat, spray - painted textures» and «deep and sharply defined shadows» and things.

You have those that fire out a high rate of ink like a machine gun or a chain gun, others that are more about slower considered shots in the same manner as a rifle, while others are giant paint rollers and basic brushes and buckets of ink.

The footage we have seen shows the gorgeous - looking sequel will feature the same painted art style that will practically jump out of the screen with 4K support on Xbox One X and that haunting soundtrack that feels emphatically vital to the Ori games.

They're not pumping these out at game per year pace, and it seems they're trying to work their individual mechanics from their focused games into the flagship franchise rather than slapping on a new coat of paint to the same game.

From physical labor to headwork, to being in touch with oneself and back again... communication and idea exchange, intellect, emotion and conversation... breaking barriers, committing oneself, being involved... from being a man to being a woman, and moving in between... from being a child, to growing knowledgeable and returning to simplicity... from being free to being restricted, to being sovereign... from breaking out of restrictions in art to breaking out of restrictions in society... from being to art and it's all the same... being, artists, male, female, sculpture, painting, performance, all conjoined in a great motion.

Inspired by the presence of Francis Picabia's painting of the same name — Catch As Catch Can, 1913 — the exhibition engages a prying apart and emptying out of stylistic investments, critical prompts, and polemical stances in order that these tactics be revitalized with a restless comic gravitas.

More recently, in Kasmin's usual confines, the same Frank Stella who had nurtured blackness came out from under wraps — or at least stripped off the paint and much of the formalism — letting found metal twist and shine.

Like Arshile Gorky in paintings and drawings from those same years, Blaine piles on arbitrary shapes out of Picasso, Léger, or Matisse.

Inspired by the presence of Francis Picabia's painting of the same name — Catch As Catch Can, 1913 — the exhibition engages a prying apart and emptying out of stylistic investments, critical prompts, and polemical stances in order that these tactics be revital - ized with a restless comic gravitas.

Painting is pulling stuff out of mental storage and adding to the supply at the same time.

His painting clearly emerges out of German traditions, from the Expressionism of Ernst Ludwig Kirchner and Emil Nolde to the New Fauves of the 1980s, and many of the artists working in this same lineage — Jörg Immendorff, Albert Oehlen, Daniel Richter, and Tal R — have been his regular collaborators.

He managed to invent pop art, conceptual art and minimalism all in one go when he started to make an American flag out of waxy paint layered over newspaper collage in 1954 and has been meditating with the same serious irony about objects and their meanings ever since.

These white paintings grew out of another series of portraits Chimes painted in the 1970s, where many of the same modernist figures are chronicled and memorialized in small, dark portraits with hand - crafted frames.

Painting, for Kørner, serves the unambiguous, if impalpable, function of exercising the imagination much in the same way as a bicycle stretches out the legs.

At the same time, I was making fake wood out of paint, by rolling the sheets of paint into what looks like a log and cutting against that to make what looks like fake wood grain.

Now, I work out a specific idea in one piece and then move onto another solution of the same idea in the next painting, knowing that the works might inform each other.

Industrial light fixtures, bent and angled, shared wall space with boxy structures made out of the same blue - painted plywood that fences construction sites in New York City.

Chatwin wrote a portrait of Hodgkin in 1982 identifying why Hodgkin changed the way he painted in the 70s - he nearly died from amoebic hepatitis and, at around the same time, came out as gay.

The writer / critic Rene Ricard points out that the plates function like extensions of the brushstroke much in the same way the cotton balls do in Joe Zucker's paintings.

If I distrust Olitski more than ever and in a whole new way, I can at least see the same impulse toward squeezing paint out of the tube and getting it on the wall.

About eight years ago Keltie Ferris burst onto the New York painting scene like a bat out of hell, that is, if you define hell as the Yale M.F.A. painting program; back then, her large Day - Glo - colored canvases were perfect crosses between hazy 1970s Color Field painting, pixilated digital space breaking up and reforming in odd - shaped plates, and painterly abstraction at the same time totally avoiding any derivative overlap with artists like Kelly Walker or Gerhard Richter.

He has also painted a large number of out - of - doors watercolours which express much the same ideas as his egg tempera works, but in a more relaxed and joyous mood.

Thus these actors and their stage in the total cinematic experience of C R A S H, where the drama of Zack Davis «motionless glass barnacle stuck to the screen of a simulated fireplace plays out in a different dimension of the same space as Anne Fellner «s painting of a white swan lying limply on its side.

For this second solo outing at New York's Ameringer McEnery Yohe, Yossifor applies the same structural concepts of musical movements — divisions of longer works that each have distinct structural components such as key and tempo — to her artworks: each painting is produced within specific time constraints and rules.

In spelling out in dates and paintings how he personally had by several years got in ahead of, say, Morris Louis, with his vertical stripe paintings, Heron seemed to suggest that St Ives and New York were doing the same kind of thing.

Robert Storr is a painter who supported himself by sheetrocking, carpentry, and house painting, along with occasional art writing, when in 1990, with only an MFA in studio art, Storr was picked out of the chorus line by the newly appointed Kirk Varnedoe, Chief Curator of Painting and Sculpture at The Museum of Modern Art in New York, to be a curator in that same deppainting, along with occasional art writing, when in 1990, with only an MFA in studio art, Storr was picked out of the chorus line by the newly appointed Kirk Varnedoe, Chief Curator of Painting and Sculpture at The Museum of Modern Art in New York, to be a curator in that same depPainting and Sculpture at The Museum of Modern Art in New York, to be a curator in that same department.

Nestled in amongst the permanent Turner Collection in the Tate Britain's Clore gallery under the same roof as the Late Turner exhibition, Eliasson's clinical circular works might seem a tad out of place amongst so much history and the painterly brush strokes of cloud, water, landscape and light in Turner's paintings.

Both artists evolved out of the Dutch figurative tradition into complete abstraction at exactly the same time, but while Mondrian remained with his bleak, geometric painting throughout his life, Van Doesburg had other ideas, dozens of them.

MH: Yes, I think the different practices do inspire each other and the same thing was my thinking, going there and actually physically making things out of clay and then coming back and making the same kind of imagery out of paint and a panel is part of the deal.

Craven's exhibitions are something like recurring dreams: On this occasion she presented re-creations of several paintings from her 2004 show at the same gallery, works that were themselves scaled - up doovers of paintings from her previous outing there, in 2002.

The works are fashioned from the same small handful of materials and shapes: tubes of stainless steel; circular and rectangular sheets of transparent and reflective glass; thin lines cutting out, carved into, or painted on to hard surfaces.

But watching her paintings change, I sometimes wanted to question her about it, since at the same time I was trying to think of how to get out of my own mode of painting.

Painted using one of those wheeled contraptions that mark out football pitches and sports fields, the line trundles from under a closed lift door, makes its way splashily up a swanky staircase — passing a Lawrence Weiner work that repeats the same phrase, «WHOLE CLOTH STRETCHED TO THE LIMIT», on the wall in big letters on every level — makes arcing oxbow detours across the concrete floors, and comes to a stop, where the machine ran out of paint, on the first floor.

From a beautiful old Bentley to a ruined old van straight out of the 1970s — they're all fixed in the same way, often roughly with some insulating tape or painted in a very unrefined way.

What got me most was the magic of feeling I was listening in on conversations between color groupings — how the reds and blues seemed to be speaking (or perhaps singing) in slightly different dialects of the same paint language, some mute or just whispering, other maniacally chatty, muttering or even yelling bloody murder — all which keeps your eye moving back and forth trying to figure out what it all means.»

And for years, before, during, and after Bennington, I mean all the years I knew Clem [Clement Greenberg] and after that, no matter what my major concern in the line of painting was, at the same time I always did easel pictures either out in nature or in my studio.

The tactic, which keenly targeted the Instagram - addicted collectors who hotly pursue such work, created a sensation — particularly after Wade Guyton, who had a painting in the show, responded to its inclusion by printing out a roomful of copies of the exact same digital file and posting photos on his own Instagram feed in what was seen as a bid to tank the piece's auction value.