Sentences with phrase «paint sections at»

November Blue Abstract, 1959 was awarded first prize in the British painting section at the second John Moores Liverpool Exhibition.

Not exact matches

Hence, a favorite traditional form of painting has been the long makimono which one unfolds so that only a small section is viewed at any one time.

A couple of weeks ago, the checkout line at the big box home improvement store was backed all the wait up into the paint section.

To create a wash, I dipped my brush in water first and then in the paint and painted the piece sections at a time.

To make chalk paint all you need is unsanded grout which can be found in the tile section at Lowes and your choice of latex paint.

The Valiant Files section offers a whole mess of original sketches, background paintings, production stills, promotional posters, and photographs, all of which you can access as easter eggs by snooping with a magnifying glass through Eddie's office or from a simple menu at the bottom of the screen.

Young Brits at Art 2010 includes new categories such as photography, sculpture and motion animation, as well as its previous sections for painting and drawing.

Inside it's very orange — the carbon sections of the dash were painted at the owner's request — and a real event, despite the Mercedes - Benz switches, which are rather ordinary to look at.

After debuting at last year's SEMA Show, the Collision Repair & Refinish section will return to provide buyers with a dedicated area on the Show floor where they can quickly and easily meet with major refinish companies, paint booth manufacturers, parts suppliers and manufacturers, estimating and management software companies, manufacturers of structural repair and welding equipment, safety equipment and other related products.

Outside, the protective section at the base of the rear bumper is a little large for my liking, especially with some lighter paint schemes that only emphasise the large swathe of dark grey plastic.

At its centre, a separate section painted in silver catches the eye that is styled to look like a diffuser.

Taking inspiration from the first Maybach revival model, built at the dawn of the new millennium, the facelifted Mercedes - Maybach S - Class will be available in two - colors paint schemes for its upper and lower body sections.

Check out the matte black Fortori SR66 that was finished just days before the Essen Motor Show opened the doors... last year we found the already impressive Gallardo SE700 at the same show which would later on evolve into the SR66 - 2 by Suhorovsky Design... today Suhorovsky decided to transfer their Lamborghini tuning section to a new company called Fortori, and for that occasion the SR66 was repainted in this stunning matte black finished... note this isn't a wrap, it is actual paint... and that dark red leather interior is the next item on the list to be modified by the way.

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 section of the Rhône River at Arles was an important influence on some of Vincent Van Gogh's paintings, such as Starry Night over the Rhône, which captures part of the river at night.

If you have stayed at Painted Turtle Guesthouse, please share your experience with other travelers by adding a review in the comment section below.

This attack is also handy at gaining some speed on straight sections of the track as you can still boost on this paint, it acts in the exact same way.

At times, the game makes players move a «soft body» and a «ghost body» independently of each other to paint sections of the game world and move objects around to complete various levels.

By the late 1960s, as in works such as the frond - like Etude, 1969, Hantaï allows the primed, raw canvas to play a role equal to the painted sections, and is always at pains to keep illusionistic passages at bay.

Coming at the end of the third essay «To Myself» in a section titled «Painting and Countenance» which is about portraiture, self portraiture and the attentive state the verticality of a painting in mirroring one's own vertical presence in the world can induce in thePainting and Countenance» which is about portraiture, self portraiture and the attentive state the verticality of a painting in mirroring one's own vertical presence in the world can induce in thepainting in mirroring one's own vertical presence in the world can induce in the viewer.

I can only take in sections at a time with one of those giant paintings; I can not take it in all at once.

Michelle Grabner (Professor in the Painting and Drawing Department at the School of the Art Institute of Chicago, who also teaches at Yale, is an artist herself, and oversees two alternative art spaces in the Midwest) noted that her section of the 2014 Whitney Biennial «features artists who have come to the fore as figures of influence, both inside and outside the geographic and commercial centers of the art world.

At first the installation appears to be large pieces of scrap material and paper that have been cut, clumsily painted and tacked to the wall in three over-sized sections.

The show's first section, «Gestural Abstraction,» is dominated by two brushy, wall - filling paintings — one by Lee Krasner, the other by Joan Mitchell — of a kind that has been a staple at the museum since the 1940s.

(The resemblance is more than coincidental: these two artists enjoy a longstanding dialogue, most recently evidenced by the Oehlen painting Wool selected for his section of the artist - curated show «Sardines and Oranges» at the Hammer Museum.)

After graduating, she held various odd jobs, including working at Macy's in Atlanta in the men's section selling Tommy Hilfiger and Polo Ralph Lauren («five out of 10 transactions were theft - related»); chauffeuring the artist Sigmar Polke around Los Angeles; and, with fellow artists Sharon Lockhart and Marnie Weber, painting the walls of Mel Gibson's Malibu mansion to look faux - old.

These earlier paintings contain overlapping black and umber brushwork at vertical, horizontal, and diagonal angles, holding forth shimmers of light — discreet underpinnings of ochre and yellow — peering between constructed sections.

Representing five years of focus on portraying attire, each of nine paintings in her show at As Is is a cropped, enlarged close - up of a section of her clad body.

Starting with the Modern stuff, though, set up the Contemporary section to disappoint — at least as far as painting was concerned.

Peeking Cheetah, with its white gradient and spotted, jaggedly angular sections, hints at something wild peering at the viewer from beneath the painting's restrained façade.

Select highlights include: Lehmann Maupin's sale of several McArthur Binion works ranging from $ 50,000 - 175,000 to trustees of two leading U.S. museums, as well as collectors new to the gallery; Galerie Thaddaeus Ropac's sale of two works by George Baselitz in a range of c. $ 599,000 - 838,000 each, a Robert Rauschenberg work for $ 725,000, a Tony Cragg sculpture for c. $ 210,000, and a metal and wood piece by Jack Pierson for $ 190,000; Royale Projects sold three Clinton Hill paintings at around $ 95,000 each to collectors from New York and California; David Kordansky sold out its booth of photography by Torbjørn Rødland in the range of $ 14,00028,000 each; Jack Shainman's sales of recent work by Hank Willis Thomas, including a major sculpture, a retroflective, and one of Thomas» iconic flags in the Live section, and works by Lynette Yiadom - Boakye, Becky Suss, Enrique Martinez Celaya and Geoffrey Chadsey; Gallery Hyundai's sale of a pair piece by Seung - taek Lee for $ 100,000 - 200,000 and two works by Minjung Kim for $ 40,000 - 100,000.

NARRATOR: In one part of this section, we have five studies for Office at Night, and the painting itself.

At the same time as publishing Bacon's paintings, new content has been added to the following sections: Biography; Talks, Lectures & Symposia; Studio - Reece Mews; and Family, Friends & Sitters.

At a time when we have become desensitised to an image - saturated world, Tony Swain (born Northern Ireland, 1967) uses familiar sections of newspaper that are pieced together as a support for paintings of fragmented landscapes and abstract patterns.

At that time, Mangold, was making paintings on wood that resembled sections of wall, work that might have evolved into sculpture.

Weller, Allen S, «Chicago: French Classic and Three Americans», Arts Digest (New York), February, volume 29, no. 10, pp. 14 - 15 Morris, J.A, Two Hundred Years of American Painting, catalogue, Vancouver Art Gallery Williams, Hermann Warner, The 24th Biennial Exhibition of Contemporary American Painting, catalogue, Corcoran Gallery of Art, Washington D.C. Three Young Americans, catalogue, Allen Memorial Art Museum, Oberlin College, Ohio Whiteside, Forbes, «Three Young Americans», Oberlin College Bulletin, volume 12, no. 3, pp.91 - 97 Preston, Stuart, «The Artist in Europe — And in America», New York Times, 8 May, section 6, pp.28 - 29 Devree, Howard, «About Art and Artists: Painting and Sculpture: American Show at Whitney, European at Modern Art», New York Times, 11 May, p. 29 Devree, Howard, «Modern Surveys» Development Since 1920 Seen in Three Shows», New York Times, 15 May, section 2, p. 9 Rosenblum, Robert, «The New Decade», Arts Digest (New York), 15 May, volume 29, no. 16, pp.20 - 33 Devree, Howard, «Response to Today: Museum Surveys Reveal Artists» Reactions», New York Times, 22 May, section 2, p. 11 Coates, Robert M, «The Art Galleries: The Grand Tour», New Yorker, 28 May, volume 31, no. 15, pp.90 - 92 Hess, Thomas B, «Mixed pickings from 10 fat years», Art News (New York), Summer, volume 54, no. 4, pp.36 - 39 & 77 - 78 Ashton, Dore, «Young Painters in Rome», Arts Digest (New York), 1 June, volume 29, no. 17, pp.6 - 7 Baur, John I.H, The New Decade: 35 American Painters and Sculptors, catalogue, Whitney Museum of American Art, New York Laverne, George, «Joseph Glasco», Arts (New York), November, volume 30, no. 2, pp.32 - 36 Hodgins, Eric and Lesley Parker, «The Great International Art Market», Fortune (New York), December, volume 3, no. 6, p. 118

Devree, Howard, «Picked by Critics: Selected American Paintings Since 1900 — Watercolor Annual — Abstraction», New York Times, 24 February, section 2, p. 9 Art Digest (New York), 1 March, volume 26, p. 19 McBride, Henry, «By Henry McBride: Glasco changes, too», Art News (New York), April, volume 51, no. 2, p. 47 Fitzsimmons, J, «Whitney Annual: many talents, few commitments», Art Digest (New York), April, volume 26, pp.6 - 7 McBride, Henry, «No exit at the Whitney: New American watercolors, drawings and sculpture make a controversial cross-section», Art News (New York), April, volume 51, no. 2, pp. 36 - 37 & 64 Hess, Thomas B, «The Modern Museum's fifteen: Where U.S. extremes meet», Art News (New York), April, volume 51, no. 2, pp.16 - 19 & 65 - 66 Devree, Howard, «Modern Museum has Varied Show: «Fifteen Americans» Paintings and Sculpture, Will Open to the Public Tomorrow», New York Times, 9 April, p. 25 Devree, Howard, «Diverse Americans: Fifteen in Museum of Modern Art Show — New Work by Nordfeldt and Laurent», New York Times, 13 April, section 2, p. 9 More, Hermon, Annual Exhibition of Contemporary American Sculpture, Watercolors, Drawings, catalogue, Whitney Museum of American Art, New York Miller, Dorthy C, 15 Americans, catalogue, Museum of Modern Art, New York

Guest, Barbara, «Reviews and Previews», Art News (New York), April, volume 53, no. 2, p. 54 Devree, Howard, «About Art and Artists: Moderate Abstractions Make a Lively Exhibition at the City Center Gallery», New York Times, 8 April, p. 25 Newbill, Al, «Fortnight in Review: A Contrasting Trio», Art Digest (New York), 15 April, volume 28, no. 14, p. 20 «Coast - to - Coast: Guggenheim to Show and Buy «Younger» Painters», Art Digest (New York), 1 October, volume 28, no. 1, p. 14 McBride, Henry, «Americans looking east, looking west», Art News (New York), May, volume 53, no. 3, pp.32 - 33 & pp.54 - 56 Devree, Howard, «About Art and Artists: Display of Work by «Younger Americans» Brought Together by J.J. Sweeney», New York Times, 12 May, p. 36 Hunter, Sam, «Guggenheim Sampler: Abstract painting comes of age in a museum exhibition of fifty - four younger Americans», Art Digest (New York), 15 May, volume 28, no. 16, pp. 9 & 31 Devree, Howard, «Americans Today: Selection of Work From East to West Opens at Guggenheim Museum», New York Times, 16 May, section 2, p. 1 - Fremantle, Christopher E, «New York Commentary», Studio (New York), October, volume 148, no. 739, pp. 124 - 126 Arnason, H.H, Reality and Fantasy: 1900 - 1954, catalogue, Walker Art Center, Minneapolis Sweeney, James Johnson, Younger American Painters: A Selection, catalogue, Solomon R. Guggenheim Museum, New York 61st American Exhibition: Paintings and Sculpture, catalogue, Art Institute of Chicago Goodrich, Lloyd, «Whitney's Battle for U.S. Art», Art News (New York), November, volume 53, no. 7, pp.38 - 40 & 70 - 73

Preston, Stuart, «Diversity of Today: From Weird to Religious in Current Shows», New York Times, 29 March, section 2, p. 8 Cambell, Larry, «Reviews and Previews», Art News (New York), April, volume 52, no. 2, p. 52 Art Digest (New York), 1 April, volume 27, p. 19 Fitzsimmons, James, «Art», Art & Architecture (Los Angeles), May, volume 70, no. 5, pp.9 - 10 McBride, Henry, «Sculpture Time at the Whitney: and for some drawings and watercolors, too», Art News (New York), May, volume 52, no. 3, pp.42 - 43 & 69 International Watercolor Exhibition: 17th Biennial, catalogue, Brooklyn Museum, New York More, Hermon, Annual Exhibition of Contemporary American Sculpture, Watercolors, Drawings, catalogue, Whitney Museum of American Art, New York Goyen, William, Joseph Glasco: Exhibition of Paintings, Sculpture, Drawings, catalogue, Catherine Viviano Gallery, New York

Hadley Holliday: One with the Sun, New Paintings at Carl Solway Gallery, by Karen Chambers, Aeqai, February 2013 XYZ The Geometric Impulse in Abstract Art, exhibition catalog, Torrance Art Museum, 2012... might be good, Issue # 199, Technicolor from Coast to Coast, by Emily Ng Art on Paper 2012, exhibition catalog, Weatherspoon Art Museum, 2012 Hadley Holliday Sets New Sights at Taylor de Cordoba, Huffington Post, March 2012 Hadley Holliday Wows with Striking Abstractions, by Angelica Martin, Societe Perrier, March 2012 Get Lost in a Patterned Wonderland, by Lilian Min, Refinery 29, February 2012 Rainbow Connection, by Sierra Feldner - Shaw, Style Section LA, March 2010 Hadley Holliday: Paintings at Solway Jones, by George Melrod, Art Ltd., November 2009 Artist of a Totally Different Stripe, by Holly Myers, Los Angeles Times, September 18, 2009, p. D23 West Coast Painters, Korea Times, June 23, 2009 Gravity and Transformation at Kristi Engle Gallery, ArtWeek, Sept 2008 Notes from the Overpass, by Adam Schwartz, Open Studio Magazine, April 2008 Supersonic: One Wind Tunnel, Eight Schools, 120 Artists, exhibition catalog, Art Center College of Design, Pasadena, CA, 2004

The centerpiece of Parma - Smith's new show is Last Judgment (2016), a 25 - foot - wide, multi-panel painting with whole sections peeling tidily to reveal a solitary female figure or lush sacred geometries beneath a seascape at sunset; also on view is a series of smaller ink - on - paper works.

This painting was first exhibited at the Salon of the Section d'Or of October 1912, which introduced the Cubist artists to the general public.

Exhibiting across the event's sections will be Lorna Simpson, presenting new paintings and sculptures in her first ever project with Hauser & Wirth (New York); the celebrated American painter John Currin with Gagosian Gallery (New York); Anri Sala, presenting Bridges in the Doldrums (2016) with Marian Goodman Gallery (New York); Keith Sonnier at Pace (New York), bringing together his pioneering neon sculptures with two new series of works; Tala Madani with David Kordansky Gallery (Los Angeles); and Kevin Beasley showing with Casey Kaplan (New York).

A couple of the paintings, such as «Hebe» 2011 (pictured) have been split into two sections — at first, the cut is hard to perceive; it disappears within the shadows and shapes depicted on the surface of the canvas — treading a careful line between an impulse towards sculpture whilst asserting the flatness of the painted surface.

Frieze New York is a vital platform to encounter today's most significant artists and artworks from around the world, including main section solo exhibitions featuring: Lorna Simpson, presenting new paintings and sculptures in her first ever project with Hauser & Wirth (New York); the celebrated American painter John Currin with Gagosian Gallery (New York); Anri Sala, presenting Bridges in the Doldrums (2016) with Marian Goodman Gallery (New York), ahead of the artist's participation in the Venice Biennale; Keith Sonnier at Pace (New York), bringing together his pioneering neon sculptures with two new series of works; Tala Madani with David Kordansky Gallery (Los Angeles), coinciding with the artist's presentation in the Whitney Biennial; and Kevin Beasley showing with Casey Kaplan (New York).

A section of the exhibition focuses on the late 1960s and early 1970s and the role of painting and sculpture at that time, including works by Daniel Buren, Simon Hantaï, Agnes Martin, Marisa Merz, Keith Sonnier, and a sculpture by Jackie Winsor.

OCY: Your paintings usually amass sharp forms at bottom parts of the canvas while upper sections are monochromatic and left for contemplation.

During Art Rotterdam 2018, Upstream Gallery proudly presents new paintings by Ronald Ophuis and Raymond Barion at the main section of the fair and a new website by Rafael Rozendaal at Projections.

Solo Shows Visitors will encounter solo exhibitions across the main section, including: Lorna Simpson, presenting new paintings and sculptures in her first - ever project with Hauser & Wirth (New York); the celebrated American painter John Currin with Gagosian Gallery (New York); Anri Sala, presenting Bridges in the Doldrums (2016) with Marian Goodman Gallery (New York), ahead of the artist's participation in the Venice Biennale; Keith Sonnier at Pace (New York), bringing together his pioneering neon sculptures with two new series of works; and Tala Madani with David Kordansky Gallery (Los Angeles), coinciding with the artist's presentation in the Whitney Biennial.

Featuring work from the 1980s to today, including wooden figures, pottery and newspapers that she has painted on, Himid's section of the Turner Prize exhibition at Hull's Ferens Gallery serves as an intimate window on to her intensely thoughtful practice.