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Not exact matches

MSU basketball player Alvin Ellis shared an image of the maize spray paint additions to the statue outside the Breslin Center.

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When I'm out on the streets with my camera, I'm creating images in much the same mindset as when I'm painting outside experiencing the scene firsthand.

Cavaino's paintings offer subtle suggestions of images; hints of forms which hover on the verge of definition, confident in their location just outside of representation.

And his processes as a printmaker lie well outside conventional techniques: he rarely printed a plate the same way twice, often painted over his prints, cut down and repurposed his plates for other images, and experimented with grounds and unusual supports, including fabric.

Outside paint splotches attend this cheerful image, which rests on a yellowish ground.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

Utilizing found objects to create an otherworldly yet traditionally based format, the image of a large female figure and its smaller companions are done in the style of traditional Indian painting, while delicate fabrics interweave amongst images that swirl and stream within and outside the two wooden panels — thus making it engaging and contemplative to look at.

«After the collages, I began to paint the eyes approaching the paintings on board as decorative objects symbolically representing the eye motif while creating an optical situation where the interior image and periphery of the painting (margins outside of the eye and thus painting) serve as a flipping perspective between view finder mask to visible interior image.

For as the «inside» of each painting splits asunder and spills forth its colourful polygons, so the «outside» world becomes a mere frame for the new inner - infinity of the image.

In her first solo exhibition at the gallery, Commito will show paintings that, while abstract, also look beyond their own geometric formal language to the world outside them — conveying the artist's interest in architectural space, the materiality of our everyday surroundings, and the productive process by which impressions and recollections are converted into images.

He wanted to remain entirely in the present moment and the act, but he always felt split, seeing himself from the outside, seeing the painting as an image.

Her paintings speak of infinity, inferring that both the landscape and our ideologies expand and contract outside of the image (and the edges of a canvas).

Drawing + Painting Anatomical Figure Drawing Beginning Water - based Media Color Theory for Painters + Designers Color Theory for the Painter Contemporary Figuration Contemporary Techniques for Figurative Painting Continuing the Indirect Method of Oil Painting Creating Innovative Comics Drawing + Painting the Figure Drawing for Comics Drawing Fundamentals Drawing in Color Drawing Outside in RVA Drawing with Ink, Charcoal + Wax Resist Exploring Water - based Media Figure Drawing Intensive Impressionism, Mark - making + Your Sketchbook Intermediate Classical Drawing Intermediate Drawing Intermediate Pastel Drawing Intermediate to Advanced Watercolor Introduction to Acrylic Painting Introduction to Children's Book Illustration Introduction to Classical Drawing Introduction to Oil Painting Introduction to Painting with Gouache Introduction to Pastel Drawing Introduction to the Figure Introduction to Watercolor Mixed - Media Drawing + Painting Mixed - Media Image Transfers Painting the Still Life + Figure in Oil Pen + Ink Drawing The Expressive Figure The Portrait in Oil The Traveling Sketchbook Value Into Color Visual Storytelling Through Illustration Watercolor + the Figure

Portraits, depictions of open handbags and masks seen in her paintings frequently point to something outside the frame of the image and invariably question our position in relation to the image.

The subject signified is outside the frame of the image painted.

That which was meaningless becomes meaningful; that which was full of meaning becomes free of sense: such painting hovers above these two fathomless depths» (A. Mulder, «Images That Come from Outside: The Experiential Paintings of David Salle», in David Salle: 20 Years of Paintipainting hovers above these two fathomless depths» (A. Mulder, «Images That Come from Outside: The Experiential Paintings of David Salle», in David Salle: 20 Years of PaintingPainting, exh.

I think image making is a way for me to internalize the world outside — Philip Guston talked painting as a way of possessing rather than picturing.

Perhaps sensing that she had reached an ultimate image, much as her near - contemporary Ad Rheinhardt had, she stopped painting for several years before returning to grids that were even more subtle in making thin, straight parallel lines that shimmer, and thus evoke a spiritual experience outside of themselves.

However, for It's Great to be in New Jersey many of the images — such as Dawn Mellor's vibrant and aggressive painting and the prints of Linder — work outside the conventions of the cold - edged punk aesthetic which has become a hallmark for Einarsson.

After almost two decades of making images of indoor worlds — rephotographing magazine and advertising images, or shooting portraits of the paintings lying around his studio — Richard Prince finally lugged his camera outside.

Alma Thomas was inspired by the garden outside her window and painted images that suggest light flickering through leaves and petals.

Yard Work: Richard Prince's «Upstate,» 2000 Artforum International; September 1, 2000; Rugoff, Ralph; 700 + words After almost two decades of making images of indoor worlds — rephotographing magazine and advertising images, or shooting portraits of the paintings lying around his studio — Richard Prince finally lugged his camera outside.

Thankfully, Lam will be among some 150 artists contributing this show's roughly 450 works — including paintings by vanguardist Marcelo Pogolotti and rare images from the Fototeca de Cuba — many of which have never been exhibited outside Cuba.