Sentences with phrase «painting processes left»

«Mr. Polke, an artist of infinite, often ravishing pictorial jest, whose sarcastic and vibrant layering of found images and maverick, chaos - provoking painting processes left an indelible mark on the last four decades of contemporary painting, died yesterday in Cologne, Germany, at 69,» writes Roberta Smith.

Sigmar Polke, an artist of infinite, often ravishing pictorial jest, whose sarcastic and vibrant layering of found images and maverick, chaos - provoking painting processes left an indelible mark on the last four decades of contemporary painting, died yesterday in Cologne, Germany.

Not exact matches

Next time, I'm going to spin up the oregano, evoo and dried spices in a chopper and toss it all together before skewering - I thought the «painting on» process was messy and left too much of the savory stuff in the prep dish.

So I have taken a leaf out of Frank Clarkes daytime painting show, and I use a hair dryer on the paint to speed the drying process up.

But, after she left the podium (to widespread applause), what likely lingered in many minds is the candid picture she'd painted of one of publishing's growing digital nightmares: debut authors may be understanding about the slow process to market and put up with it, said Smart, «but as they build reader communities around them they will get really, really pissed off and go and self - publish.»

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

In regards to painting in a series, is there an appropriate «cut off» for when a series should end, or can it be an ongoing process that you can leave and come back to?

The paintings are altered as much by their actual, physical production, as by their dissemination, each step in this process degrading the copies further, purposefully leaving us with no original by which we can ground the work.

Procrastination and doubts quickly are pushed aside when the painting gets going — the process becomes addictive and lures you right back in, almost as if you never left.

On the walls he hung the Schleifenbilder, canvases which made use of the photochemical process and manganese, and the Spiegebilde, large - scale paintings made with enamel and gold leaf.

This process is repeated, leaving one half of the painting covered in layered, complex color whilst the other half of the painting is cleansed as much as possible back to the original gesso.

Cross stitches her colors together like a quilt, often laying them down with a palette knife and leaving them untouched for the remainder of the painting process.

ARQUETOPIA, Publa, interior view EXAMPLES OF TECHNIQUES WE OFFER (BUT NOT LIMITED TO THESE) Drawing • Painting • Natural pigments (cochineal, indigo, and other pigments) • Paper • Printmaking • Graphic design • Textiles • Mexican textiles (weaving, embroidery, back - strap weaving) • Sculpture • Ceramics • Mexican ceramics (Talavera, loza vidriada) • Gold leafing and antique art techniques • Wood carving • Performance • Ephemeral (including food and other perishable materials) • Photography: digital photography and alternative photographic processes • Digital media • Design and illustration RESIDENCY PROGRAMS WE OFFER (CLICK EACH FOR INFORMATION) 1.

There are smaller paintings than this, some of theme equally concerned with the process of painting, and with the «deliberately accidental», Callum Innes «s words for the process he adopts of dividing the canvas into two, painting a quarter with a flat colour leaving the other quarter exposed, and then taking the same colour and applying it to the other half of the canvas before «unpainting» it by rubbing it off with turpentine, leaving a ghost of the original colour.

Painting was performance, a living process, an act, which left the indications of its life in graphic marks, like footprints in the sand.

Using his diaries as points of departure, Beard's complex process often involves incorporating newspaper clippings, dried leaves, feathers, insects, old sepia - toned photos, photographs of women, quotes and various found objects in conjunction with his working with ink and paint.

This process created different patterns and the nozzle of the spray paint cans were also left on the canvas surfaces.

In Dazzle Paintings series, photographs chronicling the mundane goes through a process that involves painting the image onto mica sheet infused with metal leaf alongside reflective materials like copper, silver or gold underneath.

The pulled wedge pieces are the outcome of a labor intensive, meticulous process that also leaves room for surprise in the ways in which the paint interacts with the varied surfaces and textures.

Whereas in Versammlungen groups of people were stripped of their context, which was painted over, and left heavily accentuated, here Hommelsheim explores the changes that emerge when the surrounds of the building are levelled by painting them over, and the remains laid bare in the process.

Matisse's unique piece which exposed the painting process through indoor / outdoor combinations left a permanent mark of Diebenkorn and his art.

If you take the gloves and hats and socks off the dowels, you remove the image of the figure, leaving a process - oriented abstract painting.

Painted on a large scale, these works present lively compositions of fall leaves and pine branches with less emphasis on exact detail and more interest in showing the artist's process and study of form.

(born 1938, Bronxville, New York, USA) in his earliest mature works explored a reductive strategy which seemed similar to that of Jasper Johns's and Ellsworth Kelly's contemporaneous works, yet more formalist: paintings such as Return 1 consist of subtly grey fields painted in encaustic (wax - medium) with a narrow strip along the bottom of the canvas where Marden left bare evidence of process (i.e., drips and spatters of paint).

In a single work he might combine the gestural impulses of Action Painting with the mechanical processes of silk - screening, as well as relief printing, marbleizing, traditional gold - leaf illumination, and subtle collage processes that are entirely of his own invention.

Ruth Laskey has been crafting tapestries using a weaver's loom since leaving the California College of the Arts in 2005, after growing unhappy with the restrictive process of painting.

Leaving her brush strokes visible, the edges of her canvases raw and allowing paint to drip down the sides of her workswhile showing glimpses of underpainting, Murray emphasizedher paintings as hand - built and hand - painted, reminding the viewer of the physicality of her process and the importance of the formal aspects of painting.

Using his diaries as points of departure, his complex process often involves incorporating newspaper clippings, dried leaves, feathers, insects, old sepia - toned photos, photographs of women, quotes, and all sorts of found objects, in addition to working with ink and paint.

Maintaining the consistency of the brushstrokes while varying the amount of paint and pressure applied, Lee keeps «expression to a minimum in order to achieve the maximum» (L. Ufan, Lee Ufan, Tokyo, 1993, p. 3) The almost hypnotic repetition of marks that comprise From Line is created by the artist pressing a brush loaded with blue paint suspended in viscous glue directly onto the surface of the canvas, then repeating the process until there is barely any pigment left on the filaments of the brush.

The materials were either left raw (or hardly processed by the artist), or were solidly painted with bright industrial colours.

In his early paintings Marden left a bare narrow margin at the bottom edge of the thickly worked surface of oil mixed with wax to allow the observer to be witness to the process.

The process of making his paintings, and his part in that process, Goldstein left decidedly open.

Rather than painting in the traditional sense, Cooper is left to negotiate with the natural movement of the paint as it wills itself across the surface of the paper in a process similar to Helen Frankenthaler's «soak stain» paintings as well as local artist Seana Reilly's liquid graphite ones.

Usually filled with evenly applied and saturated color, in «Luster» the paintings again diverge from earlier work through visible brush marks that leave an imperfect, textured, and varied surface making evident the process of paint application.

Using turpentine in conjunction with oil paints Innes thins and removes layers, revealing underlying colours and leaving the evidence of his process on the canvas.

Monotype, a process left over from the heyday of abstract expressionism, combines drawing, painting and printmaking.

The drips of paint leave a trace of this process, creating a modern grid that both locates the nude and separates the viewer from it.

The «artwork» took mere seconds to make and doesn't look like much; as such, what's left is the performative process of production and the laboring (then resting) body of the artist — an echo of action painting.

On her works of painted figures, it seems she shows her process a bit with leaving blocks of colors that appear pixalated images on one side and the other side painted in.

His paintings are created through a process of addition and subtraction, sometimes removing sections of paint from the canvases surface with turpentine to leave only the faintest traces of what was there before.

Lured and attuned to the simulative properties and potentials of a rather curious range of materials and mechanical processes, Lefcourt creates works — call them objects, call them items, call them paintings — that leave viewers questioning how much deeper or more detailed their envisioned origins might run, how much further their eventually depicted apertures might open, how many more machines and manual «modelings» could be incorporated into the artist's procedures of representation and simulation.

Despite having left painting behind in the previous decade, the processes of assemblage and accumulation in his installations eventually brought Tomaselli back to his two - dimensional roots.

His painstaking process of laying down layers of paint with his non-dominant left hand was time consuming and laborious.

Leaving her brush strokes visible, the edges of her canvases raw and allowing paint to drip down the sides of her works while showing glimpses of underpainting, Murray emphasized her paintings as hand - built and hand - painted, reminding the viewer of the physicality of her process and the importance of the formal aspects of painting.

In his diary — which will partly be published in the catalogue accompanying the exhibition and gives prime access to the artist's creative process — Kiefer notes: «This heavy lead bandage that can no longer be detached from the paint skin, these festering sores welling out from the still boiling lead when the pigment beneath it is not bone dry, the little straws on a field that I painted years ago and that appear as charred leavings on the solidified lead — all this reminds me of the Baudelaire poems I reread last year in Portugal.»

And even though they are not connected directly, it is still helpful to consider how Haida artists use line to exercise control over the subject (which is abstracted through this painting technique) and to be in control of their painting process (carefully drawn lines leave no doubt as to who is in charge).

However, this exhibition will also include entirely new paintings made with the same process but on fresh canvas or paper (Reconstructing Deconstructing Jerry # 45, pictured at left).

Diebenkorn left the process of making the image visible, integrating his earlier investigations into the final painting.

In the 1970s and 80s, painters liked revealing their process by leaving earlier stages of the paintings visible through the thin washes of paint.

Regarding process: «On the final layer I place the paint on the canvas and leave each stroke as it was applied.