Sentences with phrase «painting process later»

Perfect for me to perch myself on while I manage my empire;) I'll be posting details on the entire floor painting process later this week, so stay tuned.

Not exact matches

There are also a number of grandstanding moves he'd make to get publicity (e.g., ordaining an openly gay man to the priesthood in a very public PR blitz only to defrock the guy a few months later because Spong was so concerned about ordaining a gay candidate that he didn't bother to go through the necessary discernment process — this PR move really impacted some very qualified homosexual candidates who were all painted with the same brush.)

Hopefully they ask some cunning questions later in this profile process that will paint a useful picture.

Frears, Cusack's director on The Grifters, paints himself in this instance as a hired gun, brought on late in the process and trusting the script to take him in the right direction.

Sadly, that process was never tested on the track — although the paint scheme was applied to BMW's latest and greatest LMP racer, the car was little more than a showpiece.

The beautiful new piano - finish paint process is applied to each new Continental GT by the craftsmen and women at the Bentley factory in Crewe, working alongside the very latest technology in robot paint systems to provide an unrivalled level of detail.

I also «reserve» some white areas for later in the painting process by brushing around them and then leave the painting to dry.

Going back to how you [Gooding] describe the earlier work, there was in fact a self - conscious desire to block off or direct the viewer's process of looking at it or looking into it, and this later evolved into a later stage in which there was actually an invitation to «look in», but in which at all times the viewer was encouraged to be aware that the painting was made out of real things, real physical layers, rather than illusions.»

As of late, emerging artists from throughout the world have been busy tearing painting down, and building it back up again; questioning exactly what a painting is; and coming up with ever more inventive and unique processes for making paintings.

Merz began her career in the late 1960s as the only female member of the Italian Arte Povera movement, which advocated the use of «poor» materials in fine art, as well as the revealing of process and experimentation as a counter to the tyranny of the perfected, painted canvas and the elevated, pedestalled sculpture.

While much of Chimes's work is deeply indebted to literature, each body of work (his metal and plexi box constructions, drawings, and later white paintings) maintained structured systems that dictated the composition — a process - based manifestation of the classicist and symbolist ideals in his work.

Her process is evident in the finely calibrated geometries of her hard - edged paintings from the early 1970s, through the striped and later color blocked works of the»80s and»90s.

After experimenting with resin for over 20 years, Lee's latest work combines this material with acrylic paint in a process that produces three - dimensional, sculptural layers.

Riffing off both the aesthetic and conceptual characteristics of technology, artists in Technologism document technology's advancement in a plethora of ways: Ulla Wiggen's intricate paintings of circuit boards from the mid 1960s, see the development of an aesthetic inspired by the complex intersection of electrical wires, connectors and components, working to manipulate and rewire the physicality of technology; some thirty years later, John F. Simon's Art Appliances series of the 1990s uses the circuitry of small LCD screens to disrupt pictures and patterns, recreating them over; in Matte Rochford's video Progressively Degrading Test Pattern 2013, humble VHS tapes are copied and recopied, in a process of metaphysical reduction; while in Joshua Petherick's new work, one technology is employed to record another soon to be superseded, revealing new visual dimensions and the «ghosts in the machine».

A decade later, Warhol did his own creative experiments with scientific process, but instead chose urine and metallic paints as the catalysts.

This sculpture's refined surface and ethereal color are the result of a process of applying and sanding multiple coats of paint, a technique adopted by Truitt during the late 1960s.

1988 Cultural Geometry, Deste Foundation for Contemporary Art, Athens (curated by Jeffrey Deitch, catalogue) Collection Sonnabend: 25 Years of Selection and Activity, Museo Nacional Centro de Arte Reina Sofía, Madrid; traveled to CAPC Musée d'art contemporain, Bordeaux, France; Art Cologne, Cologne, Germany; Hamburger Bahnhof Museum für Gegenwart, Berlin; Galleria Nazionale d'Arte Moderna, Rome; Museo d'Arte Moderna e Contemporanea, Trento, Italy; Musée Rath, Geneva; Sezon Museum of Art, Tokyo; Miyagi Museum of Art, Sendai, Japan; Fukuyama Museum of Art, Hiroshima, Japan; National Museum of Art, Kyoto, Japan (catalogue) Galerie Lelong, New York A Drawing Show, Cable Gallery, New York Hover Culture, Metro Pictures, New York Art at the End of the Social, The Rooseum, Malmö, Sweden (curated by Collins & Milazzo, catalogue) Australian Biennale, Art Gallery of New South Wales, Sydney, Australia; travelled to National Gallery of Victoria, Melbourne, Australia (catalogue) La Couleur Seule: L'Experience du monochrome, Musée Saint Pierre, Lyon, France (catalogue) Hybrid Neutral, Modes of Abstraction and the Social, I.C.I. Exhibition: University Art Gallery, The University of North Texas, Denton, TX; travelled to J.B. Speed Art Museum, Louisville, KY; Alberta College of Art, Alberta, Canada; The Contemporary Arts Center, Cincinnati, OH; Richard F. Brush Art Gallery, Gainesville, FL; Santa Fe Community College Art Gallery, Gainesville, FL (curated by Collins & Milazzo, catalogue) Works Concepts Processes Situations Information, Galerie Hans Mayer, Düsseldorf, Germany (curated by Robert Nickas) American Art of the Late 80s: The Binational, Museum of Fine Arts and Institute of Contemporary Art, Boston, MA; travelled to Städtische Kunsthalle, Düsseldorf, Germany; Kunsthalle, Bremen, Germany; Württembergischer Kunstverein, Stuttgart, Germany (catalogue) Carnegie International, Carnegie Museum of Art, Pittsburgh, PA (catalogue) New Works, Daniel Weinberg Gallery, Los Angeles A Debate on Abstraction: Systems and Abstraction, The Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York (catalogue) Viewpoints: Postwar Painting and Sculpture from the Guggenheim Museum Collection and Major Loans, Solomon R. Guggenheim Museum, New York Three Decades: The Oliver Hoffman Collection, The Museum of Contemporary Art, Chicago (catalogue)

His latest carved plaster tablets and graphite drawings arrive at similar aesthetic states but from opposite directions: the painted tablets respond to surface texture and chance operations, excavating compositions through deconstructive sgraffito techniques, while the drawings depart from landscape imagery and are built up into complex, almost - recognizable images created through a process of repetitive mark - making, erasure, and re-drawing.

By the late 1960s however, postminimalism, process art and Arte Povera [121] also emerged as revolutionary concepts and movements that encompassed both painting and sculpture, via lyrical abstraction and the postminimalist movement, and in early conceptual art.

Its demise was later diagnosed by Mondrian and Rodchenko, and painting was still in the process of bidding farewell when Douglas Crimp published his essay on the subject in 1981.

Thea Ballard with a short review on Bracha L. Ettinger's latest exhibition at Callicoon Fine Arts, New York: «Though small and even unassuming, her striated oil paintings (in deep bodily reds and purples) are rewarding and dense - both in theoretical weight and in composition, her method involving a years - long process of layering.»

Thomas Chimes: The Body in Spirals, 2014 Text by Kelsey Halliday Johnson 84 pages, Softcover Published by Locks Art Publications ISBN: 978 -1-879173-95-8 While much of Thomas Chimes's (1921 - 2009) work is deeply indebted to literature, each body of work (his metal and plexi box constructions, drawings, and later white paintings) maintained structured systems that dictated the composition - a process - based manifestation of the classicist and symbolist ideals in his work.

The continuation of abstract expressionism, color field painting, lyrical abstraction, geometric abstraction, minimalism, abstract illusionism, process art, pop art, postminimalism, and other late 20th - century Modernist movements in both painting and sculpture continued through the first decade of the 21st century and constitute radical new directions in those mediums.

Influences converged, passion and intellect were engaged, and seminal moments occurred to help shape the process: in 1962 when Irving Blum (who had taken over Kienholtz's position at the gallery) gave Andy Warhol his first solo gallery exhibition ever at Ferus (the Campbell's Soup Can Paintings); in 1963, when Hopps moved to the Pasadena Art Museum and presented the first retrospective of Marcel Duchamp in the US; in 1966 with Ed Kienholtz's epochal retrospective at the LA County Museum; and in the decade from the late fifties to the late sixties when Ed Moses, Billy Al Bengston, and Ed Ruscha among a handful of others were on center stage.

While Tate Britain explores Turner's celebrated late career in which he embarked on radical experimentations with technique, process and material, the V&A delves into the story behind Constable's master paintings — many of which have only received rightful recognition in the modern age.

Amy Ellingson begins her works with digital sketches, which she later transposes into paintings, where constellations of geometric forms are guided into patterns by digital processing algorithms.

By the late 1960s however, process art emerged as a revolutionary concept and movement that encompassed painting and sculpture, via lyrical abstraction and the postminimalist movement, and in early Conceptual Art.

In Smith's latest body of process - based paintings, «painstaking use of repetition and translucency within the medium fuse the canvas with the background, mid-ground, and foreground to create whimsically celestial landscapes, constructed of dancing globs of acrylic paint.

Such an amazing artist who took the time to talk to us about his process, show off his latest works, and his infectious excitement regarding his paintings made me want to head back into the studio my living room and put brush to canvas.

The resulting holes or «cut - outs» — a nod to the late work of Henri Matisse (1869 — 1954)-- allowed flashes of color to peek through at various intersections, paralleling McIntosh's painting process.

By the late 1960s, Postminimalism, Process Art and Arte Povera [38] also emerged as revolutionary concepts and movements encompassing painting and sculpture, via Lyrical Abstraction and the Postminimalist movement, and in early Conceptual Art.

Attending to the cyclical nature of the artist's work, the project examines the transformations in Braque's creative process as he moved from painting small, intimate interiors in the late 1920s, to depicting bold, large - scale, tactile Cubist spaces in the 1930s, to creating personal renderings of daily life in the 1940s.

Although his later paintings differ in method from his earlier canvases, the preliminary process remains the same.

Since starting to paint in the late 1990s, Mizrahi hasn't stopped painting, saying «The process itself is stronger than we are.»

«Barnett Newman: The Late Work, 1965 - 1970» focuses on paintings produced during his last five years and a glimpse of the process behind them.

The works from the late 1960s and 1970s display the use of an «anonymous» sign, the simple and repetitive movement of the artist's paintbrush to create uniform task - like marks that serve to record the process of painting.

Sarah Crowner's latest pieces, for example, are composed of fragments of painted canvas stitched together in the process of «figuring and unfiguring».

As Pearlstein has stated, he focuses on process, and so can you in viewing Picket Fence I and Picket Fence III, the earlier charcoal work delineating the later painted version.

Appropriation art, Artefactoria, Bad Painting, Bio art, COUM Transmissions, Culture jamming, Electronic art, Equipo Cronica, Fractal art, Froissage, Groupe Zebra, Holographs, Institutional Critique, Kitsch Movement, Late Modernism, Massurrealism, Metamodernism, Neo-conceptual art, Neo-Geo, Neue Slowenische Kunst, OuPeinPo, Pittura Colta, Pluralism, Process Art, Psychedelic art, Relational art, Renewable energy sculpture, Robotic art, Sound art, Tiki art, Vancouver School, Virtual art, and many many more.

He worked mostly from drawings, taking a long time to evolve a design for the picture that was later modified — sometimes quite substantially — during the often highly attenuated process of completing the painting.

His process primarily involved plein - air watercolor paintings, which he would later revision as woodcut prints in the studio.

While Whitten's early work combined figuration and abstraction, he later made a significant conceptual and stylistic shift, moving from oil paint to acrylic to focus on the process and materiality of painting.

While «formulaic,» something I railed against in the late 1960's and early 1970's Minimalist - Conceptual art world, I find the process surprisingly interesting, particularly passing it through the filter of non-taped edges of the painted form.

«While «formulaic,» something I railed against in the late 1960's and early 1970's Minimalist - Conceptual dominated art world, I find the process surprisingly interesting, particularly passing it through the filter of non-taped edges of the painted form.

In a period when anything hung on a wall must be instantly afforded the status of painting, when we are confronted by «paintings» that have been made without any recourse to paint whatsoever, created with printers and scanners, or with the assistance of nature, bleached by the sun, stained by the rain, a pretense of process art to painting en plein air, and very late in the day, an engaged practice of painting, rather than dismissed as a thing of the past, is ever more present.

They conceived each work as an uncompleted thought, still in process, and their canvases engaged the immediacy of the present with such directness and spontaneity that today, half a century later, they look as if the paint is still wet.

Like his earlier works, Diebenkorn's later abstractions allow the accumulated drawn and painted traces of his painstaking process to remain visible.

Such an idea of painting — emphasizing its physical process — would be highly influential on later artists; Pollock, for example, was a major impetus behind the appearance of Happenings in the United States in the 1960s.

He described his process of painting as a dialogue with his works, the meaning of which he was only able to access with some difficulty during this period: «For reasons I don't understand, in the late 1940s and early 1950s I focused on abstract art, despite the fact that I always felt that it had to do with figurative imagery, even though I didn't fully understand this imagery.

It is keyed to the fact that the opening later this month of the new San Francisco Museum of Modern Art will bring to town from Europe or the East Coast the sort of affluent collector who views Ryman as a uniquely uncompromising and unruffled analyst of the painting process.