Sentences with phrase «painting as an object in»

While drawing the viewer in, Rachel MacFarlane aims to create an illusion by emphasizing the physical attributes of the painting as an object in space.

The intermediate layer of white, connecting color to canvas, also serves as bridge from painting as composition to painting as an object in the world.

Not exact matches

To disclose the «essence» of an object, a feeling, even of the very act of painting as in the case of Abstract Expressionist painters, means to envision a characteristic way of seeing.

Of course, we know that if we are, in fact, speaking of the painting or the sunset as a mere object, we can not attribute any such harmony to it.

Modern humans who lived in Africa at that time used similar objects as jewelry and for body painting to symbolize their social standing.

Taken together, these findings explain why visual acuity is commonly measured with dark characters on light backgrounds and why visual resolution is lower for lights, as already noted by Leonardo da Vinci and Galileo Galilei when judging the size of light objects in paintings and the dark sky.

Their larvae develop in water that collects in natural and manmade containers such as birdbaths, vases, animal water dishes, flower pots, discarded cans, old paint buckets, or other neglected / discarded water - holding objects (Rey and Connelly 2013).

Gustave is named as a partial beneficiary of the will — his gift is a painting named «Boy with Apple» — and the family (composed primarily of Adrien Brody and Willem Dafoe, both in full psychotic mode, especially the latter) objects.

The Light Between Oceans paints Tom and Isabel's romance in elliptical glances — a seductive strategy, but also one that leaves them feeling less like fully fleshed human beings than objects as symbolic as that lighthouse, the broken piano in their seaside home, or a metal rattle that becomes integral to the plot.

As the viewer regards two separate paintings by 16th century Dutch painter Pieter Aertsen, titled The Vegetable Seller (1576) and A Meat Stall with the Holy Family Giving Alms (1551) respectively, each cut to a different fragment of the paintings» surfaces raises questions: what do the artworks depict; what is placed in their foregrounds; what is relegated to the background; and, ultimately, what meanings can be excavated from the artworks» layers and represented objects?

These settings were defined zones where learners were engaged with others as they read, constructed objects, painted, built with blocks, explored the world of science, or were involved in dramatic play.

Water was «read» by their mind, heart, sensorial attitude, into a valuable process of transdisciplinary knowledge.3 The visit to The Water Tower4 of the town and its museum facilitated the real knowledge of the objects and instruments that were used during the centuries by the rural and urban civilization concerning the use of water; the creative workshops facilitated unexpected «meetings» between poetry, music and painting in the artistic imaginary frame of water; the presentations revealed the magic powers of the water as they are known in folklore, mythology and also the astonishing Bible significations of the water and its use in religious rituals; the scientific outlook on water brought forward for discussion its physical - chemical properties, its role in the human metabolism and in all living beings.

He views his own person and life as objects for his «study of the soul», for instance in his painting «Anatomical test».

Her ear near a hole in the paint - chipped wall of Hard Pan's Found Object Wind Chime Museum and Visitor Center, she listened as Short Sammy told the story of how he hit rock bottom.

I do have a painting of him as well, but all these objects are just left in the house and will collect dust over time.

Graphically, Gravel is Milestone Italy's best looking game up to the date of its release with amazing vehicle models that crumple when colliding with other cars or trackside objects complimented by realistic track surfaces such as sand, mud, foliage and rocks in numerous environments, alongside superb weather conditions as well as lighting and shadow effects that adapt to the time of day or night the race is taking place at, while there are outstanding subtle details such as water effects from water splashes and rain, mud splashing onto the car throughout the race, sparks flying as vehicles trade paint and pyrotechnics throughout each lap particularly during stadium races.

You get a stylized portrait of you (or an object of your choice) hung as a painting in Crypt Run's in - game museum (picture requires approval).

Interact and unlock certain objects such as bookcases, paintings to find hidden treasure, objects you can interact with will highlight and once you active them you get a small puzzle to solve, manage to do this correctly and you get your treasure, sort of like lock - picking in other games, although some tools needed to solve certain puzzles are unlocked later in the game and these can be upgrade once you are able to acquire them.

New main weapons include: Splat Dualies, dual - wielded sub-machine gun - style guns with two reticles that allow the player to perform dodge rolls with concentrated fire; Flingza Roller, an elongated paint roller capable of fast short range horizontal attacks as well as slow long range vertical attacks; Goo Tuber, which is similar to the Charger weapon but is able to hold a full charge for much longer, allowing players to get a better vantage point or sneak attack opportunity without having to charge the weapon again; Dapple Dualies, essentially an improved version of the Splat Dualies, allowing players to perform quicker dodge rolls at the cost of reduced range; Clash Blaster, which fires crayon - like objects in a short range, high speed manner similar to the Luna Blaster in the first game, but you must hit the opponent with multiple direct hits to splat them; and finally the Splat Brella, a shotgun - like weapon that also functions like a shield that can fly off the handle to provide mobile cover.

Rope - covered portions are colored in paint; the object is to paint a given percentage of each object using as little rope as possible.

In several paintings, scissors or other pointed objects suggest danger or menace as well as the activities of an artist's studio.

''... because visual painting can no longer be engaged outside the mediated experience, what we are given instead are «painted» objects, things to encounter, things to purchase, stockpile and trade, in the moment that we look up from our screens... The «painted» object finds its meaning not in its being, not as it's revealed, or in its experience, but as it's re-presented, contextualized through other media.

Micchelli writes: «Optical or perceptual painting, for all of its rigor and intellection, can be thought of as a vanguard in defense of «aura,» a Romantic credo affirming the power of the art object.

That tone was set at the opening night's performances: Lee Mingwei's durational performance Our Labyrinth (2015), for which a dancer swept the floors of the galleries with a mixture of grains, purifying a path for visitors; Aki Sasamoto's Delicate Cycle (2016), which included such domestic objects as washing machines and bundles of clothing; and Olivier de Sagazan's Transfiguration (2016), in which de Sagazan used clay, paint, and hair to transform himself into a shamanistic figure.

«the domination of the object to be looked at, always saying that a certain line should go in this direction or that, a red had to be here and a blue there because that was the way it was on the model, began to be limiting...» (p. 75) Goodnough never accepted limits in his painting, embracing in his own work what he describes as the «feeling in the best work of American painters of the «wild» which has been the heritage of this country.»

Artist Walead Beshty, who authored the essay for the exhibition's illustrated catalogue, explains, «Just as the ritual object accrues meaning incrementally and over time through a repetitive process of investment and stewardship, DeFeo came to favor producing paintings through a process of slow accumulation in lieu of the explosive and loose gestural compositions that were common at the time.»

These works, like «Providence Spirits (Gold)» (2017), are the most lovely objects in the show and are meant to stand out as carry horses for the metaphor of wealth and the gap between the lives these heavily aestheticized and finely crafted paintings represent and the lives (alluded to in other rooms) that are deemed worth significantly less.

Primarily working in drawing and sculpture, he often depicts ambiguous interior spaces filled with books, posters, and paintings, as well as commonplace objects, such as bottles and cigarettes, in a stark, linear style reminiscent of architectural...

In the late nineteen - sixties, a group of artists made a name for themselves in the United States by using photography as a basis for painting everyday scenes and objects with extraordinary realisIn the late nineteen - sixties, a group of artists made a name for themselves in the United States by using photography as a basis for painting everyday scenes and objects with extraordinary realisin the United States by using photography as a basis for painting everyday scenes and objects with extraordinary realism.

Johnson works predominantly in mixed media sculptures and paintings, combining bare materials such as mirror, wood, and shea butter with loaded iconic objects including record covers, CB radios, historical books, and common domestic objects.

Totally missing the point, in my view, of the work's use of a subdivided black to activate the space the painting — as both surface and object — shared with its viewers.

But painting does carry enormous importance as a hand - made object, revealing one person's being to another, and in that revelation furthering the blossoming awareness of our irreducible interconnection and indeed, our interbeing.

Shaped canvas works became popular in the 1960s as artists sought to emphasize the potential for paintings to be considered objects.

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

It was as if the forms were found objects that when pulled into the painting brought some of the feel of where they had been in the world with them.

As he abandoned painting for sculpture in the early 1960s, he wrote the manifesto - like essay «Specific Objects» in 1964.

Returning to the years immediately following his move to New York City in 1958, the exhibition illustrates the ways Dine incorporated household objects ---- often loaded with autobiographical import ---- into his paintings and sculptures as extensions of and metaphors for the human body.

I am thinking of objects in nature such as rocks, water, branches or a big fat sun / moon - as part of the narrative in these paintings and acting as metaphor for human interaction and strength of feeling.

In abstract painting one can't deal with a kind of entity, entity like an object or person, a concentration of psychology which a person is as opposed to what, where the figure isn't in the paintinIn abstract painting one can't deal with a kind of entity, entity like an object or person, a concentration of psychology which a person is as opposed to what, where the figure isn't in the paintinin the painting.

It was probably just a trend that was happening in Ohio, but it kind of fitted really well with this idea of a painting as a big heavy object.

Her new series of paintings, currently on display at Jack Shainman Gallery in New York, continues to be led by the process of remembering, as well as interiors that include objects of personal significance.

Gone are the collage materials, found objects and foamcore: the new sculptures are constructed exclusively of papier - mache and paint, materials which reinforce their presence as sculpture in their own right.

In contrast to works that incorporate found everyday objects, such as the «Combine» paintings of Robert Rauschenberg or the Dada collages of Kurt Schwitters, Almquist's experimental paintings extend his picture plane into three dimensions with constructed elements of disjointed, dream - like imagery.

Included in the exhibition are paintings and works on paper from 1976 through 2013, including works on found objects and vintage book pages as well as the explicit photorealistic paintings that have recently attracted much international attention.

Like Albers, at first glance your paintings look very systematized, especially from a distance, but as you get closer there's a density and physicality to the paint that makes the color both the subject and the object in a very visceral way.

Drawing on his own experiences and also referencing broader global issues, his diverse practice spanned assemblage works composed of found objects such as metal, stuffed animals, discarded clothing, rope and electrical wire, and dramatically textured paintings, as well as muted neo-expressionist works on paper executed in pastels, charcoal and watercolor.

But her relation to representation is not in the realm of narrative or allegory, the thing itself is the important thing, the painting as an object that projects into our space carrying pigment on its surface.

Suzanne Friedli, co-founder and partner of Annex14 who represents the artist in Zurich comments: «When we saw the paintings of Otis Jones for the first time we were immediately impressed by the deepness and the density of this reduced language, the physical presence of the object - like works and the concentration on painting as a process.

Deftly working in a range of media — including photography, painting, sculpture, and video — Johnson incorporates commonplace objects from his childhood into his work in a process he describes as «hijacking the domestic.»

Her still life paintings of New Mexican objects are rendered in brilliant colors, and her portraits often feature the expansive desert mountains as backdrops.