Sentences with phrase «paint printed surface»

She then applied broad strokes of paint printed surface, creating shimmering veils of color in loops, lines and dabs.

Not exact matches

Pure White Chalk Paint Red latex paint (I already had it, otherwise I wouldn't have used latex) Modern Masters gold metallic paint Purdy paint brush FrogTape for delicate surfaces (my favorite for painting projects) Yardstick This stencil (I only used the crown) Overhead projector for transferring the «Telephone» graphic (created in PicMonkey and printed onto clear transparency paper) Sharpies for outlining the letters and black paint for filling in the letters

The experimental techniques are: white paint printing, collage, wax and scratch, distressing surfaces, dripping paint, scraping paint, using sgrafitto, cardboard collaging and layering and digital manipulations with collage to using fabric and sewing into surfaces.

This reduction in pattern print - through ensures an optical smooth surface prior to painting.

His screen - printed shadows, his camouflage paintings, and his 1980s renderings of Rorschach blots were all representational endeavors in practice that, on the surface, appear abstract.

In the first main gallery, eight large paintings fail to advance Koons's fantastic dream of producing a handmade two - dimensional surface so intensely, intricately fashioned that all signs of human life disappear, leaving the effect of a man - made inkjet print or a nonvirtual JPEG.

Although unique works, not editions, the painting - like things that Finnis presents were in fact printed by Magnolia Editions of Oakland in acrylic inks on prefabricated surfaces - doors, drawer and desk components from Ikea.

Many of German - born Silke Otto - Knapp's paintings, drawings, and prints are inspired by the choreography of ballet and modern dance; her compositions are often populated by flat figures that appear to float on the surface of her canvases.

The artists participating at the Grundy Art Gallery are Allison Katz, who displays a trilogy of works comprising painting, sculpture and print; Amy Stephens, whose practice centres on reclaiming objects and images from the native landscape; Ruth Beale with new large - scale works on paper, drawing on the British tradition of satire to critique current events; and Rebecca Birch, who brings an interactive installation investigating the politics of surface.

Revisiting an idea he first employed in his late - seventies project «128 Photographs of a Painting», he divided the work's surface into two vertical sections, then halved those halves, and so on, he had each work printed to his desired scale, so that we might contemplate what have become remarkable horizontal, rhythmic fields of fine lines, oscillating with vibrations of color, the largest of which stretches over ten meters, as seen on the gallery's first floor.

These are then transferred onto a canvas surface where Joo's signature methodology is implemented as he combines painting, print - making, photography and sculpture.

Rooted in the language of architecture, Voisine's paintings, prints and drawings convey a sense of shifting spatial interactions through the use of symmetry, color, surface, and precise, hard - edged forms.

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.

The surface of Goltzius's Hercules and Cacus appears as flat as the Giotto, and it takes a proper look to confirm that the copies are painted rather than screen - printed.

Hill's digital prints use photography, painting and printmaking to investigate surface and light and their role in the formation of images.

No longer sidelined as painting's invisible support, weaving is both source material and subject matter.1 In eleven new editions, however, Grabner puts aside the painting - weaving dialectic to explore the material surfaces and patterns of prints and textiles.

Echoing the original blotted - line method that Warhol had applied in his drawings of the 1950s and early 60s, his new mirrored abstractions were achieved through a fundamental print making technique, folding an empty canvas over a freshly painted surface.

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.

Bhabha alters the surface of each oversized print with ink and paint, mapping visceral forms, suggestive of Songye masks or Ridley Scott's Alien.

On a single work's surfaces, on a colored ground, Zheng makes thousands of prints from woodblocks he has carved, printing type, found stamps, and more recently Chinese papercuts; he finishes the work by painting into it by hand.

Reflecting these repetitive rituals, the relentless recording of self and the multiplicity of media images, Brice incorporates offset printing techniques on a variety of surfaces in the paintings, allowing for several versions of the same motif.

Group Island Press: Recent Prints, Mildred Lane Kemper Art Museum, St. Louis, MO, 2018 Thinking Through Art, Middlebury College Museum of Art, Middlebury, VT, 2018 Sunrise, Sunset, Emerson Dorsch Gallery, Miami, FL, 2017 The Unhomely, Denny Gallery, New York, NY, 2017 Women Painting, Miami Dade College, Kendall Gallery, Miami, FL, 2017 New Faces, Different Places, Central Features Contemporary Art, Albuquerque, NM 2017 The Home Show, form & concept, Santa Fe, NM, 2016 Girls Who Dance in Dissonance, Wayside, Los Angeles, CA, 2016 Surface Area: Selections from the Permanent Collection, Studio Museum in Harlem, New York, NY, 2016 Self - Proliferation, Girls» Club, curated by Micaela Giovannotti, Fort Lauderdale, FL, 2016 Faces and Vases, Royal NoneSuch Gallery, Oakland, CA, 2016 Visions Into Infinite Archives, SOMArts Cultural Center, curated by Black Salt Collective, San Francisco, CA, 2016 Summer Art Faculty Exhibition, Schick Art Gallery, Skidmore College, Saratoga Springs, NY, 2015 Paula Wilson & Jovencio de la Paz, Saugatuck Center for the Arts, Saugatuck, MI, 2015 Perception Isn't Always Reality, Kranzberg Arts Center, St. Louis, MO, 2015 DRAW: Mapping Madness, Inside — Out Art Museum, curated by Tomas Vu, Beijing, China, 2014 - 2015 Lake Effect, Saugatuck Center for the Arts, curated by Mike Andrews, Saugatuck, MI, 2014 I Am The Magic Hand, Sikkema Jenkins & Co, Organized by Josephine Halvorson, New York, NY, 2013 Sanctify, Vincent Price Museum, Los Angeles, CA, 2013 The Bearden Project, Studio Museum in Harlem, New York, NY, 2012 Configured, Benrimon Contemporary, Curated By Teka Selman, New York, NY 2012 Art by Choice, Mississippi Museum of Fine Art, Jackson, MS, 2011 The February Show, Ogilvy & Mather, New York, NY, 2011 Art on Paper: The 41st Exhibition, Weatherspoon Art Museum, Greensboro, NC, 2010 Defrosted: A Life of Walt Disney, Postmasters Gallery, New York, NY, 2010 41st Collectors Show, Arkansas Art Center, Little Rock, AK, 2009 - 2010 Carrizozo Artist's Show, Gallery 408, Carrizozo, NM, 2009 - 2010 While We Were Away, Sragow Gallery, New York, NY, 2009 A Decade of Contemporary American Printmaking: 1999 - 2009, Tsingha University, Beijing, China, 2009 Collected.

1980 Islamic Illusions, Alternative Museum, New York, NY Retour Aux Sources, Une Exposition en Afrique D'Artistes Afro - Americains 1980, Galerie D'Art Mitkal, Abidijan, Cote D'Ivoire Afro - American Abstraction: An Exhibition of Contemporary Painting and Sculpture by Nineteen Black American Artists, Institute for Art and Urban Resources - PS 1, Long Island City, NY; Everson Museum of Art, Syracuse, NY; Los Angeles Municipal Art Gallery, Los Angeles, CA; Oakland Museum of California, Oakland, CA; Memphis Brooks Museum of Art, Memphis, TN; Art Center, South Bend, IN; Bellevue Arts Museum, Bellevue, WA Dialects, Franklin Furnace, New York, NY Color and Surface, Touchstone Gallery, New York, NY The Nineteen Seventies: Prints and Drawings, Museum of the National Center of Afro - American Artists, Boston, MA 10 + 10: An Invitational, Miami - Dade Public Library, Miami, FL

They signify art as commodity - fetish / object - of - desire / desired - object by exaggerating references to commodity manufacture - as in the printed surfaces, the repetition of the same shapes and imagery, the synthetic palette (hues typical of process inks used for photocolor separations), and the stacking (an allusion to surplus goods and conspicuous consumption); and by conflating these with burlesque allusions to sexuality and eroticism - as in the greasy holes of Painting of Depth or the pornographic photographs of Untitled (1986).

The curved lines of the first prints, circa 1960, are close to Judd's paintings in that the paint is applied thickly (in some cases, also on the back and front), evoking the paintings» rough and palpable surfaces.

In 1989, Milhazes developed a process for mixing collage and printing techniques with painting, giving her canvases an almost «distressed» surface.

Along with others active at this time, these three artists questioned, for example, whether a painting had to be a flat, rectangular object mounted on a stretcher, affixed to a wall, and viewed from one vantage point; that paper was only a surface to be painted, printed, or drawn on, rather than a medium for creative manipulation in its own right; or that there was only one way for a work of art to be installed.

Moreover a photograph, with its smooth reflective surface, printed by a chemical reaction or digitally manipulated with no material depth or presence, is entirely different from a painted portrait.

Embedded in the surface of Untitled [black painting with portal form] is a sheet of newspaper printed with the foreign exchange rates for Monday, October 8, 1951, various news stories, and advertisements, one of which is clearly dated October 9, 1951.

Recently, De Feo has begun to re-work fashion ads by painting graphic petals onto the printed surface.

In his reductive, near - monochrome paintings, watercolors, and prints, Zurier focuses on simplicity, color, and surface modulation to achieve fleeting moments in time.

May 6 — June 25, 2010 Curated by Jim Osman, Print is an exhibition of Hill's recent digital prints that use photography, painting and printmaking to investigate surface and light and their role in the formation of images.

The works incorporate every day and mass - produced objects, which corresponded with the cheap surfaces on which he painted, such as wallpaper or fabric, as well as his use of offset printing techniques.

Print is an exhibition of Daniel Hill's recent digital prints that use photography, painting and printmaking to investigate surface and light and their role in the formation of images.

Although Staniak creates the paintings mostly by hand — he builds up texture with uneven layers of plaster and then paints the surface in a range of ways — the paintings bear an uncanny resemblance to flat digital prints.

Paint application: did the student leave any lumps of paint on the surface that interfered with the final print layer?

In fact Brown heightened the effects of the original, altered its perspective and flattened his paint surface almost like a print.

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.

About Iris Scott Gold Edition Artist Proofs: Iris creates an alternate version of the original painting by reworking the printed canvas surface of each Artist's Proof, with her trademark finger painted oil texture.

Characterized by flat primary colors contrasted against mirrored surfaces, these paintings contain overlapping screen - printed images along «with broad swipes of the brush and splashes of paint» that Artsy describes as both «dramatic and explosive.»

Her early object paintings and interest in scientific imagery led to her drawings and prints of seas, night skies and deserts, with their extraordinary surfaces and physical presence.

The mixture of traditional painting and printing techniques John Bauer employs results in an illusionary painterly surface that engages viewers with its forms and keeps them guessing as to their origin.

Working with the seemingly narrow subject of his own face, Close has produced a richly varied trove that ranges from intimately scaled collage maquettes and fingerprint drawings to monumental gridded canvases; from the sharp definition of certain photographic techniques to the ghostly blurs of daguerreotypes and holograms; from the tactile complexity of paper pulp editions to the smooth, mechanical surfaces of Polaroids and digital ink - jet prints; from the subtle tonalities of gray - scale paintings and drawings to the exuberance of an 111 - color screenprint.

The newspaper and news print stock elements are laid down in rough, irregular patterns over already painted surfaces on to which Windett again builds with active brushwork resulting in a unique physical presence.

These images are printed directly onto the surfaces of objects such as plasterboard sheets, paint cans, mattresses and tables.

The 2014 vintage is strong on performance, painting, print and drawing with relatively little sculpture and photography, but all with a clear bias towards a concern with materiality and a notably tactile quality, with many patterned and closely worked surfaces in evidence.

In the 1980s, he began to paint water drops on the surface of French newspapers, allowing the larger - than - life splashes to magnify the print.

Paint on the surface looks as if it were printed by a large machine over an abstract expressionist painting.

Linda Colsh (left) Twilight, layered, stitched art quilt with surface design paint, print, dye, ink, 58 x 58 inches; (right) detail of Twilight.

For his Make Believe Ballroom series, Rivers employed a novel printing technique to create pieces with raised, textured surfaces which occupy a middle ground between painting and sculpture.