Sentences with phrase «painting out of a letter»

Mark Joshua Epstein: It's as if Frank Stella has taken a letter and made an abstract painting out of a letter.

Not exact matches

Assuming the letter you've received doesn't paint the whole picture for you, calling this number will be well worth it as talking to a person not only helps you understand the nuances of the situation but there's comfort in knowing that a human being with a name and a face at the IRS is there to help you figure things out.

Made out of paper mache letters transformed with paint and a string of lights a DIY marquee sign is the perfect weekend DIY project to get your ready for Halloween.

Put your own stamp on the project by painting your pegboard to match the color palette of your nursery, and spell out your baby's name in craft store letters.

Making a sign for the front of my home with paint and vinyl lettering — creating something good out of a bad memory.

After they dried, I worked inside out, and I painted the edges of my hand lettered Halloween plates, and highlighted any raised parts.

While my paint was drying, I placed the letters onto the back side of my scrapbook paper, traced around them and very carefully cut them out.

While I had the Cricut out I cut out vinyl letters for Coffee Break, painted the board white, placed the letters on and painted it the shades of blue shown, then peeled the letters off.

Time gives birth and nourishes and then obliterates as it moves ahead, like the family which, in an early scene, prepares to move out of a house by covering murals and hand - lettered height charts with white paint.

The July 6 letter by David Pace painted charter schools as an albatross, a corporate tool meant to «put public schools out of business.»

The new Tacoma TRD Pro packs a mix of Bilstein and TRD suspension components, TRD wheels, BFGoodrich all - terrain tires, TRD exhaust, and naturally, some cosmetic touches, in this case blacked - out lettering and optional orange paint.

They painted letters on fans, embroidered messages on handkerchiefs, and composed stories, thereby reaching out of their isolation to share their hopes, dreams, and accomplishments.

He took me out of school with the intention of educating me himself, and instead of letting me finger - paint he read me the letters Vincent van Gogh wrote to his brother Theo right before he cut off his ear, and also passages from the book Human, All Too Human so that together we could «rescue Nietzsche from the Nazis.»

But the reaction from AG and its members who commented on the open letter paint the Alliance as a group of thugs out to make all authors» works subject to rip off.

Held denied a metaphorical interest in the letters; nevertheless, the pictorial device of singling out initials for monumental treatment has precedent, most notably in Celtic illuminated manuscript painting, where the scale and lavish decoration of the initial letter alert the reader to the import of the text that follows.

For example, in 1960 a group of realist painters wrote a letter complaining that the museum was incorporating too much abstraction into its painting annual; other groups advocated for the museum to establish a day of free admission, or called out the lack of representation for female artists and artists of color.

This morning several news outlets — including Artsy, Frieze, and Out Magazine — published parts or all of an open letter allegedly written by artist Dana Schutz asking the co-curators of the 2017 Whitney Biennial, Christopher Y. Lew and Mia Locks, to remove her controversial painting of Emmett Till from the exhibition.

This exhibition gathers Freilicher's paintings and drawings, as well as two videos by Rudy Burckhardt, and features four vitrines containing photographs, book covers, letters, and manuscripts — some poems with lines crossed out and handwritten additions in the margins — that point to the interrelated friendships between painter and poets, and to the development of work at hand.

In some paintings the letters «ESP» - a recurring motif or tag in his work - float in and out of vision, referencing at once the subconscious doodles of the artist's hand as well as a literal abbreviation of «Extra Sensory Perception».

We had just begun the process of seeking out her heirs to see if there might still be a possibility of including the painting in our exhibition, when Dana Pace, a colleague in SFMOMA's Development Department, received a letter from a trustee representing Mrs. Foster's estate.

A letter to the artist from the British Council dated 16 May 1947 sets out the plans for the exhibition of roughly 50 paintings by contemporary British artists «for exhibition in France, Czechoslovakia, Greece and Austria».

A LETTER TO TAMARA GONZALES FROM SHARON BUTLER Dear Tamara, The other day, when I came out of the C - Town at Wyckoff and Dekalb, I saw a woman wearing beige leggings made of polyester lace that featured a big repeating flower pattern, and I thought of your paintings.

At the start is a painting in which he writes out the names of his artist - heroes: Masaccio, Piero, Giotto, Tiepolo and (in smaller letters) de Chirico.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

The letter «urge [s] the UK's national museums to follow the example of a growing number of international museums and provide open access to images of publicly owned, out - of - copyright paintings, prints and drawings so that they are free for the public to reproduce.»

All the paintings feature repeating bands or stripes of a single color applied to canvases that start out rectangular and end up emphatically shaped, resembling big letters.

Painted using one of those wheeled contraptions that mark out football pitches and sports fields, the line trundles from under a closed lift door, makes its way splashily up a swanky staircase — passing a Lawrence Weiner work that repeats the same phrase, «WHOLE CLOTH STRETCHED TO THE LIMIT», on the wall in big letters on every level — makes arcing oxbow detours across the concrete floors, and comes to a stop, where the machine ran out of paint, on the first floor.

THE STUDIO MUSEUM in Harlem recently explored the intersection of food and art in an exhibition featuring, «Untitled (Dinners)» by Carris Adams, a text painting that transitions from bold black lettering to a muted pink and yellow palette spelling out «Chitterlings & Oxtails Dinners.»

Jerry Saltz gave praise to the show and summarised it better than anyone else: «Wool's paintings of blocky letters, words, and phrases; abstract graphic fields filled with erasures; and boxy geometries implausibly synthesize the gesturalism of mid-century Modernism — now out of style, semi-forbidden — with cooler art from the age of mechanical reproduction.

Wool's 8 - foot - high enamel - on - aluminum painting, offered by an unnamed European collection, reads «If you can't take a joke you can get the fuck out of my house» in the artist's trademark black block letters.

The painting's title and the artist's signature hug the breadth of the bottom edge, spelled out in machine - stenciled letters that negate this most intimately tailored sign of the artist's hand.

Commissioning works of art based on these segmented portions of famous texts, Painting Between the Lines fills in the visual information that is left out of the organization of black - and - white letters on each literary page.

The first painting was done in shades of grey, with the colors spelled out in stenciled lettering.

In fact I used to stretch the canvas, or sheet, right up to the limits of the corners of the wall, the painting ended there... It was like taking off a fresco, since the canvases or sheets had the form and breadth of the walls of the room... The letters or painted signs, they came however, from forms which I prepared out of hard cardboard.

Jesse Amado's wall piece «PLEASE PLEASE PLEASE PLEASE BABY PLEASE DO N'T GO I LOVE YOU SO» (2004) packs sideways the letters that spell its title, cut out of wood and painted silver, so deciphering them involves relearning to read.

Giant calls to mind Ruscha's paintings of the iconic Hollywood sign, but in Henry's painting the letters spell out «Judd» instead.

Indiana went on to make many versions of the iconic logo he came up with — LOVE spelled out in stacked letters with an off - kilter O — as paintings and sculpture, and his fame soared.

It isn't much of a painting at all — just black letters on a seven - foot white background spelling out, in all caps, a line from Francis Ford Coppola's Apocalypse Now: SELL THE HOUSE SELL THE CAR SELL THE KIDS.

Depending on the temperature, humidity, viscosity of the fluid and the pressure, paint will react with the material differently each time, where the bleeding fragments of runny color, around and in between the lettering, remind of the Pollock's dripping, while the thick layers of paint give out a bas - relief impression.

«Her great beauty and spirit are unbroken by a long series of misfortunes,» Bellamy wrote of her in a letter to a collector, around the time he helped her scrape together funds to build a track system that would hoist the textured clay tiles that made up her «black earth» paintings from her studio floor out to her kiln.

Not that I would know... On the gallery walls are a number of paintings on polished stainless steel where a haze of highlighter - coloured spray - paint with jaunty lettering (made using masking tape) exposes the mirrored surface beneath spelling out statements like Crushingly Hopeless and Dead Ur Lovers.

Dana Shutz was notably silent in the debate (an apology letter attributed to Shutz turned out to be a fake), but the controversy made several other art - world professionals also some of the most talked about figures of 2017: Hannah Black, the black Berlin - based artist who penned an open letter to the Whitney demanding the removal and destruction of the infamous painting, and Christopher Y. Lew and Mia Locks, the Whitney Biennial curators who included the painting in the show and defended their decision to keep it there.

Ventures in painting and sculpture are also evident in a suite of works by Jack Pierson, whose text - based works — mismatched letters spelling out ironic or vexing statements that recall roadside signs and ransom notes — have become art fair staples, and favorites.

The group show features the abstracted bird shapes of Boleta (pictured above right), Fefe (who creates «typographical monsters» from letters cut out of street posters, pictured here), Highraff's mix of illustration, comics and organic forms, Kboco who paints totemic aboriginal forms, Onesto (pictured above left), Speto, Titi Freak, and Zezão who paints in sewers as well as on the streets.

Abraham Cruzvillegas Autorretrato ciego saliendo de mi terapia de rehabilitación... [Blind Self - Portrait While Walking Out of My Rehabilitation Therapy...], 2015 Neutron gray acrylic paint on newspaper clippings, cardboard, photographs, drawings, postcards, envelopes, tickets, vouchers, letters, drawings, posters, flyers, cards, recipes, napkins and steel pins on wall Dimensions variable The Bronx Museum of the Arts Permanent Collection Purchased with funds from the Gelman Trust

What to make of the neon piece spelling out the cryptic phrase «The subject self - defined» (Joseph Kosuth) or the painting over the sofa that reads «Feb. 27, 1987» in white block letters on a black field (On Kawara)?

'' [A] stunningly beautiful volume... An affectionate biographical glimpse into Martin's life... Tucked alongside reproductions of paintings are previously unpublished lecture scripts, samples of Martin's letters to Glimcher, and other notes... These actual - size replicas -LSB-...] are written neatly in the artist's own script, and offer intimate glimpses into her thought process... The photographs of Martin in her rustic surroundings are marvelous and strange, and the lurid colours unique to old Polaroids provide a bracing contrast the restraint found in her paintings... Martin's works, with their delicate grids, can become muted or muffled on the page, but in this book they sing out pure and strong.

3) Question: Four of my friends and I each painted a letter on our shirts for the senior class picture, to spell out «C - L - A-S-S.»

While your resume will lay out the nitty - gritty details of your professional skills and experience, your cover letter should paint a broader picture of how and why you are an effective leader and manager.

When you can clearly, concisely and articulately paint a rosy picture of your professional personality in your cover letter, you will be deemed successful in reaching out to potential employers.