Sentences with phrase «painting on flat surfaces»

She has moved away from painting on flat surfaces to creating sewn works that rise from their frames towards the viewers.

In the eighties her paintings on the flat surface moved into space as wooden canvas - covered environments, evolving into paintings into which one could literally walk.

It opens to anything... Actual space is intrinsically more powerful and specific than paint on a flat surface» (D. Judd, «Specific Objects», Arts Yearbook 8, 1965).

Judd identified actual space as «inherently more powerful and specific than paint on a flat surface,» a sentiment characteristic of Minimalist faith in the productive reality of embodied, as opposed to purely visual, experience.1 Hammons, however, combines the purified geometry of a Judd or an early Robert Morris with the cast - off traces of African - American urban life.

Richter poured paint on a flat surface, tilting the paint around, then pressing the glass on to sections of the surface and lifting it off.

Not exact matches

It is easy to imagine how someone in prehistoric times might have placed their hand on a flat surface to apply body paint, and noticed the pattern left on the surface afterwards, leading to the making of hand stencils and then to drawing outlines.

Step 1: Lay your necklace flat on a surface of your choice (I used a paper bag) and lightly spray your white spray paint until it's evenly coated.

It further looks at Leonardo's example and how he developed this linear perspective but then continues with the development of chair - scuro (light to dark shading) and their oil paint blending to continue developing the illusion of reality on a flat surface in their Still life paintings.

Known for her vocabulary of schematic linear constructions evocative of fantastic structures, tight to loose linear coils, and flat, template - like shapes, Greenbaum has steadily moved from drawing in thin paint on white grounds to layering the surface with different structures and gestures.

When I first saw Katharina Grosse's paintings at Gagosian, my reaction was that they were too big, and that the surfaces were too flat — that they looked better on the computer screen than they did at the gallery.

So does solving the modernist problems of painting on a single flat surface.

Here's Patrick Heron's take on it: But the secret of good painting — of whatever age or school, I am tempted to say — lies in the adjustment of an inescapable dualism: on the one hand there is the illusion, indeed the sensation, of depth; and on the other there is the physical reality of the flat picture - surface.

Her staining method emphasized the flat surface over illusory depth, and it called attention to the very nature of paint on canvas, a concern of artists and critics at the time.

The objectness of the shaped paintings from this period makes them always more than the working out of abstracted, biomorphic or geometric forms on a flat surface, since the form of the support itself is a biomorphic or geometric abstraction.

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.

Furthermore, he insisted that the painting is nothing more than a flat surface with some paint on it, completely avoiding any symbolic qualities that some believed are the essential core of the painterly compositions.

«With a painting, people expect paint on a canvas or pigment in liquid on a flat surface, I'm trying to do something different.

The words sit on the picture plane, creating a play between the painting as a flat surface and as a window opening onto the illusion of deep space.

One of the most influential European graffiti artists, best known for breaking the dimensionality of the flat surface graffiti was painted on, took over the entire gallery space by creating site - specific audio - visual installation.

Although his early works can be considered a form of Op art, as he depicted ovals and circles on flat surfaces of paint, he developed in his later years a style that is more linked with hard - edge and color field painting.

Hard - edge painting is characterized by large, simplified, usually geometric forms on an overall flat surface, precise, razor - sharp contours and broad areas of bright, unmodulated colour that have been stained into unprimed canvas.

Given its scale, it is instructive to compare this large piece with the paintings featured in the show: where form and an entirely flat painted surface lend strength to the paintings, the subtle human touch inherent to the printers art yields a different sort of gravity, and perhaps timelessness, to the works on paper.

Or as artist Frank Stella defined it, «a picture is a flat surface with paint on it — nothing more.»

The flat, flashbulb - lit paintings of Richard Phillips have always seemed more destined for magazine (or album) covers than for the gallery setting — in fact, they often make their way into glossies like Elle, Visionaire, and Vogue China — but beneath the shallow surfaces of his celebrity portrayals lurk a troubled consciousness musing on ideas of ephemerality, objectification, and the high cost of cheap fame.

The Los Angeles artists emphasized a unified whole by creating paintings of centered, though not always symmetrical, composition of forms connected on a flat surface.

In a text titled, «Post-War Reflection,» Kusama writes, «My Works are usually painted flat on undivided space so that each microscopic mass is followed by another and its surface has a concrete appearance when looked upon as a whole showing a group of remarkably vast masses.

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.

Hedges is well versed in the tenets of mid-twentieth-century Modern painting, and has thoroughly absorbed the lessons of the push - and - pull of paint and dimensionality on a flat surface, as taught by Hans Hofmann, who was informed not a little by the pre-cubist works of Paul Cézanne.

When asked about the subject matter of her luscious, fluid paintings, the American Color Field painter Helen Frankenthaler (1928 — 2011) once remarked, «If I am forced to associate, I think of my pictures as explosive landscapes, worlds, and distances held on a flat surface.»

Though painting on flat wooden surfaces, Youngerman is playing with 3 - dimentional depths and the stereoscopic quality that results from overlapping forms.

Focus on the artwork of Bridget Riley and Victor Vasarely who use repeated shapes, lines, and minimal colors to create detailed paintings that generate the illusion of depth and movement on a flat surface.

Allgulander's paintings do not merely mirror reality but become sculptures on the flat surface with the use of colors and the texture of the paint.

These two approaches articulated very early on in its history this kind of work's almost paradoxical dynamic: that one can read a monochrome either as a flat surface (material entity or «painting as object») which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in painting (i.e. Rodchenko); or as a depiction of multidimensional (infinite) space, a fulfillment of illusionistic painting, representing a new evolution — a new beginning — in Western painting's history (Malevich).

All in all, the paintings turn on the tension between the layers of detail they contain and their status as «flats» — a word that brings to mind surfaces devoid of any texture.

Deriving from a traditional practice, Wang produces his Coffin paintings by working with his canvas resting flat on the studio floor, systematically applying layers of acrylic paint in alternating colors — at times monochromatic, at times colorful — resulting in a densely stratified surface.

The camera is limited to documenting flat surfaces, and is unable to capture 3D objects such as sculpture, or extremely large paintings, but word is the Google geeks are working on that as we speak.

His early work features broad, calm rectangles in the manner of the American Color Field painters, but Hoyland's distinctive contribution has been to break with the modernist insistence on a flat surface and to put perspective back into abstract painting: his mature work is characterised by depth and texture, in which strange objects float in the foreground or middle distance, against an often mysterious background, in a way that is oddly reminiscent of Miro.

I should add, that being able to talk through the process so well, while painting in such detail, and on a flat surface, is a gift all by itself.

On the one hand, a painting is a flat two - dimensional object, with its surface texture and color shapes.

Also on view are Wolniak's «tablets» — flat surfaces covered in plaster and painted with water - based pigments in palettes reminiscent of Hawaiian shirts, then carved into with elaborate linear patterns made up of circles, dots, scratches and swooshes.

«I have always been concerned with painting that simultaneously insists on a flat surface and then denies it.»

Whereas we typically paint on a rectangular flat surface, pumpkin painting gives you a chance to experiment with painting on something that is to be seen in the round, more like a three - dimensional sculpture.

We expect a painting to hang flat on a wall, to have a discrete rectangular surface, usually framed.

Flood of pristinely cool, bright lights brings out gorgeous deep blue on the simultaneously flat and yet tactile surface of John Bauer's dynamic abstract paintings in Duke Gallery at Azusa Pacific University.

In 1970, she switched from oils to household oil enamels and painted frequently on Masonite; her surfaces became flat and her palette brighter.

In my mind's eye I see Ad eternally creating his «last painting,» workmanlike, in a methodical dance around a supine canvas, balancing the quickly drying paint in each corner, seeking an even, flat surface with no trace of his sure hand or the small brush he was brave enough to rely on.

gestural surfaces of abstract expressionist works and towards flatter surfaces and a more minimal color palette, Stella's paintings reflected his statement of the time that a picture was «a flat surface with paint on it — nothing more.»

The ruler on the left lies flat against the painting's two - dimensional surface, while the middle one tapers upward, suggesting that it is tilting away from the painting's surface, and moving back in space.

Coupled with white shapes that could seem either solid or transparent, laying flat on the surface or implying a geometric solid, Held used these ambiguities to reintroduce the idea of imaginary space back into painting.

These latter deploy brush strokes that have been liberated from the flat surface of his paintings and which now constitute condensed agglomerates in a medley of hues laid down on top of a base of bronze.