Sentences with phrase «painting kind of artist»

«I realized I didn't want to be a drawing / painting kind of artist,» Massing says.

Not exact matches

2014.02.21 RBC seeks emerging painters to enter 16th annual RBC Canadian Painting Competition and - coming Canadian artists are celebrated with largest prize of its kind TORONTO, February 21, 2014 - Calling all up...

Furthermore, it is easy to do this kind of thing to christians, we just get upset, but you'll never see this artist deface Muhamed by painting his likeness in Kool - aid flavored water color for instance.

Typically when an artist who paints with watercolors (which I think you all understand what I mean by watercolor)... the person sketches out a drawing with a special kind of pencil as so when they apply water and paint — the outline from the watercolor pencil blends in versus just being an outline.

In a kind of variation on Toy Story, the characters of an artist's painting are alive inside the world he created.

Positioned as a kind of educational thriller, Loving Vincent follows Armand Roulin (one of van Gogh's many subjects) as he unravels the circumstances that led to the young artist's suicide, spotlighting details of his life, and meeting many of the people who would inspire his paintings, along the away.

My painting seems to have inspired Gerry to become a kind of motor portrait artist.

Kind of like being an artist who wants to stand in front of his painting so he can explain it to everyone.

We really enjoyed using ASUS Artist, a detailed drawing program that allowed us to sketch with several different kinds of brushes, including a spray paint can, a pen and a traditional paintbrush.

As a member, you'll be able to connect with other artists who work in similar media, including all kinds of painting (even digital), sculpture, photography, mixed media, and more.

He continues: «If the Renaissance theorists were right, then we should believe that these kinds of paintings were in some sense inevitable, that sooner or later artists would get the visible world right and a Dutch still life would be the result.

«Any kind of formal invention in the work of black artists was seen as, if not second rate, then something done the second time around,» says Odita, noting that Clark laid claim to making the first shaped painting — before Frank Stella — and that the king - making art critic Clement Greenberg regularly visited Bowling's studio but never took the opportunity to write one word in support of his work.

Consider the most visible trend in recent years of Zombie Formalism, a kind of reductive, easily produced abstract painting, sold quickly to collectors queued up on waiting lists and hungry for innocuous, decorative works in a signature style, so much so that the name of the artist himself becomes the brand.

The contributions of African American artists to the inventions of abstract painting have historically been overlooked, or else fraught with the kind of questions faced by Jones.

1995 Hall, Jacqueline, «A Brooding Kind of Mood,» Columbus Dispatch, Sunday, March 19 Kohen, Helen, «Talent in the Dark: Artist Shine with Paintings of Night» The Miami Herald, Saturday January 21

And Sam Messer was such a good teacher because he understood young people's concerns about what being an artist is, specifically those making paintings, what kind of language of expression they should have, and so on.

Painted on every conceivable kind of surface, from aluminum foil and corrugated cardboard boxes to cotton batting and artichoke leaves, these small works honor artists ranging from Alfred Jensen, who shares Martin's interest in numerology («Good Morning Alfred Jensen, Good Morning,» reads a 2005 - 07 painting whose rainbow of stripes frames, in Jensen-esque colors, a bikini - clad calendar model) to Dash Snow (a messy little canvas of 2006 - 07 titled Dash Snow Bombing, in which the late enfant terrible appears in a tiny blurry photo by Ryan McGinley, spray - painting a wall).

Rutault, 72, who paints his canvases the same color as the walls on which they are hung, is known as a rather grumpy outsider, the kind of artist who's likely to skip his own openings.

And doesn't an artist also enter into a kind of debate with the painting itself, so that the work could even be a reply to the artist as if it had a life of its own?

Each work is an instance of a ripped frescoes, a technique developed by the artist in the 1980s which brings together two key moments in his paintings: a construction, based on a site, as a process for the formation of a support; and a reluctant walk (of a fake restauration) in the memory and the material history of the painting, of deconstruction, subtraction, a kind of intimate and forged archaeology, where a re-emergence of an unexpected fragment in the shape of clay, mosaics or shred (of colour or material) can become the focal point of the whole painting.

He considered Voulkos the most talented artist in the faculty and witnessed at first hand his anguish at not being able to get the kind of attention and respect he sought as an artist because his chosen medium, ceramics, enjoyed about as much stature as finger painting.

At 35 years old, Russian - born artist Sanya Kantarovsky has built a reputation for himself as a kind of beloved Eeyore of the art world, thanks to his prolific emo cartoon - like figure paintings that offer both mischievous social commentary and morose self - reflection.

«I paint fast, in a kind of frenzy,» says the 46 - year - old British artist Chantal Joffe.

Richter's swiped - over twin towers, Dumas's crucifixions and portraits of Osama bin Laden and Phil Spector (looking like a creepy and ageing Ken Dodd) at Frith Street Gallery, and Sasnal at the Whitechapel: together these artists evidence a kind of mistrust and doubt, as well as a discovery that painting can be both revealing and critical.

John Yau offers a tribute to the late painter Michael Mazur, whose early paintings of apes in a zoo were recently exhibited in New York: «This is the kind of challenge that most artists, no matter what the medium, avoid: to confront and stroke difficult subject matter, to be open and sympathetic without trivializing or becoming sentimental.»

This broad approach is a more typical kind of artist collection, but a rare few, such as Howard Hodgkin's stunning collection of Indian paintings, show more connoisseurship.

But artists like Wool and Prince set the scene for a particular kind of conceptual painting for the digital age.

German artist Kitty Kraus creates painted plywood boxes with light bulbs on top, a kind of Truitt - Flavin mash - up.

PALM SPRINGS, CA — Artist Kevin Berlin is known for appearing at art fairs and at his exhibitions with swarms of orbiting models, for dramatic displays of bravery while taming tigers (mostly the kind with body paint), and for lounging nude with attitude.

Along the back wall is a fivesome of the more abstract kind of paintings Mr. Oehlen took up in 1988: soupy brown - gray blurs reminiscent of de Kooning, and embellished with sharper, brighter forms, as if the brooding artist had suddenly cheered up in the work's final stages.

That may seem like a simple statement, but given the state of contemporary art — with its endless carnival of art fairs peddling vacuous abstraction, celebrity - hyped artists, and conceptualism - light — the fact that Borremans paints the kinds of pictures he does is actually a radical proposition.

You have to see it over time, and you have to see different kinds of works by the same artist, and kind of live with it, live with the experience of that painting and come back to it until you sort of connect to it

These paintings» twisted Neo-Classicism, their Ingresque backlighting, their intimations of lesbian couplings, not to mention the physical - culture allure of their 1930s photographic sources, combined to make Picabia's»40s nudes the paradigm of a new kind of pictoriality which has proved very powerful for contemporary artists.

The first solo museum exhibition of Los Angeles artist Christopher Miles, Bloom features recent works constructed out of acrylic paint and paper over aluminum armatures — a kind of ambitious update of the papier - mâché method.

Take an art break between April 25 and May 5 and finally learn what kind of artwork this modern master created in between the more famous paintings, when he was driving across the country in the 1930s or taking a break from teaching other famous artists in the 1950s.

Given Müller's investment in content (which, it should be stated out front, never overwhelms the paintings» interlocking Cubist framework but rather engages it in a kind of communion), it is impossible to look at this exhibition of late paintings — almost all of them completed in the two years before the artist's death — without meditating on the extra 24 years of life (in Christopher Marlowe's version) that Faust received in exchange for his soul.

Some nonpainting efforts come into focus with time, but the first impression is a telling lesson in why painting doesn't die; it is at the very least a good way for young artists to grasp the kind of density of expression that any art medium requires.

Artists of earlier generations sought a signature style and produced exhibitions of very similar paintings, and old - school galleries and collectors no doubt still favour this kind of «branding.»

Appropriately enough, Moyer had first become interested in the formal qualities of moving blankets — their off - kilter color combinations, the patterns of their stitching — while assisting the artist Mika Tajima, who at the time had taken to displaying paintings in the kind of wooden storage racks typically found in a gallery's back room.

Rembrandt painted more self - portraits than any other artist of the period, creating a kind of visual diary of his life until his death aged 63.

So the title Fast Forward came in part from an article I read on Keith Haring, that was talking about the climate, this moment, in the early 1980s in particular and more generally, and that there was this idea that there was suddenly a kind of new freedom for artists to paint what you want.

Eligibility: The International Painting Annual is open to any artist submitting original works of painting of any kind created within 2012Painting Annual is open to any artist submitting original works of painting of any kind created within 2012painting of any kind created within 2012 - 2015.

Thinking of painting as a form of technology is a very interesting vantage point, because if you consider the whole sweep of different mediums that artists are employing today — from video and virtual reality to immersive installation and performance — then painting becomes the least optimized medium for avant - garde curators to engage the kinds of crowds that come to biennials and exhibitions.

A good painting (and there are plenty of good paintings in this show) creates a kind of commons — a place where an artist can share subtle perceptions, extended across space and time.

Instead and pressingly, even with wild up and downs, flaws and all, the 2017 Whitney Biennial is the best of its kind in some time for the multiple ways it reveals how — selected as it is, without overdetermined political and aesthetic dogma, and curators remaining open to the exigencies of pleasure and the mysterious ways that art mutates but doesn't play catch - up — a show of artists simply at work, whether making expressionistic paintings, idiosyncratic functional constructions, casting the further shores of socially activist conceptualism, or documenting collapsing ecosystems or family dynamics — that artists are always addressing and channeling issues of the day.

As Romaine's work evolved, the female subjects of her paintings became sharply modern, in possession of a kind of feminine strength that couldn't be captured by other male artists working at that time.

Artists such as Nevelson and David Smith became known for large - scale outdoor sculptures and public art, while Aaron Siskind sought to capture the same kind of energy and movement in his photography that Pollock was attempting to evoke through action painting.

Composed of digital paintings, collages and sculptures, the four artists utilize varying kinds of mutable imagery — drawn from stock photography websites, social media and landscapes — as a representational vocabulary that intersects with physical presence.

The accompanying monograph Tomma Abts is the first of its kind on the artist and includes reproductions of more than fifty paintings and works on paper.

In this first comprehensive review of its kind to be held in Switzerland for over twenty years approximately 160 paintings, sculptures, drawings and prints from all phases of the artist's career is on display.