Sentences with phrase «painting structures like»

It might also be wise to mention that you have experience with minor repairs or in painting structures like bridges and signs.

Not exact matches

In order to see more clearly what picture Paul was painting as an illustration, I'd like to look at this passage in light of its literary structure.

I like it when the paint is thick enough for each dot to turn into a visible fingerprint with an interesting structure and when I can easily see how the flowers made by my younger child are smaller than the ones made by my oldest because of the different sizes of fingers.

Peralta, a member of the Senate's maverick Independent Democratic Conference, said the falling paint chips pose a health threat to people underneath the structures, especially in heavily congested areas like Roosevelt Ave. in Queens, which is underneath the No. 7 Line.

It's clear virtually from the get - go that filmmaker Todd Phillips is looking to transform this true - life tale into a Martin Scorsese - like crime drama, as evidenced by War Dogs» less - than - subtle visuals and almost paint - by - numbers rise - and - fall structure.

I walked up to our test car in the darkening 8 p.m. light of our parking structure's second floor, and the bright blue paint made it stand out like a beacon.

Available on both the petrol - powered LS 500 and the LS 500h petrol - electric hybrid, the F Sport trim level features a more aggressive interpretation of the company's now - familiar spindle grille, painted in black and featuring 7000 individual facets in its mesh - like structure.

And whereas developer PUBG Corp. has proven off some paintings beforehand that supplied a way for the map's structure, we have now gotten a peek at what it appears to be like like in - game.

I'm not talking about something like Sweatshop which appropriates an existing game structure and paints a message across it: in Cart Life, like Braid and Immortal Defense, the mechanics bulge with meaning.

Bishop: The reading of them as referential to the paintings» material structure is really off, and if they think it looks like a door or something, what does it matter?

Her elegant structure transforms painting into architecture (and vice versa), with the imperfections and eccentricities of the hand - glazed tiles functioning like a painter's gestures.

For my most recent paintings this involved beginning by choosing a basic compositional structure, which is usually a single form, like a circle, or the repetition of a form — an arch or line.

Within the twelve small paintings there is a range of approaches and manipulations; some feel like graffiti or found objects, some feature built - structures — solid or tentative — while others illuminate invented places — poetic, curious and remote.

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.

The paintings present imagery of the universe like black holes, dark matter, stellar births: phenomena that are being visualized in a variety of different shapes and forms yet have no standardized structure.

Rail: When I look at the reproduction of the painting «Four Children,» the feeling for the simplicity of form, which suggests the potential for monumentality, and the way you invent the diagonal and horizontal lines around the figures, function like cubist structure.

Important paintings on view from this period include Blue Cradle (1956) and Thursday (1960), which feature strong colors and gestures, as well as Crossfield I (1968), which hints at the final phase of Tworkov's career in its grid - like structure and layered lines.

If narrative was banished from modernism (to become the trope of post-modernism), Bercea's paintings maintain «touches of modernism» such as «form, function and structure» but similarly act like cryptic short stories in which no plot exists, the characters appearing fluid and changeable.

Because these amazing wet - on - wet structures that Richter laid down felt almost like reincarnations of some of the virtuoso brushstrokes de Kooning made in 1975 paintings like Screams of Children Come from Seagulls [check out this dark blue, sideways L from the upper right quadrant, for example] or the single, epic loop at the center of the Art Institute of Chicago's Untitled XI (1975): And then when they're just right, Richter takes his squeegee to them.

Multimedia artist Sara Magenheimer's Open Mic Solo blends the photographic frame within the structure of a painting, creating a collage - like circuit of images within an image.

These paintings — such as Notebook 64, where a translucent, multicolored shape hovers over the patterns of reflective water and sky — mirror tessellated structures found in the natural world, like honeycomb.

In the «frame paintings, James might paint on the surface or add a house - like structure made of pieces of wood behind the semitransparent gauzy material.

The tiny kiln - like structure on top of the painting might be about change, and the bond between craft and art, but the statement does not comes across as heavy - handed.

None of his paintings depict any particular person, but they all have the same gaunt skeletal structure, with dark, empty eye sockets like the shaky long exposures of a daguerreotype photo.

Nor do I think, like Sam, that «Red Label» is a flat image; I think it has, along with quite a bit of Smith's very early, freely - brushed but clearly structured work of the late fifties, more spatial «life» in it than much of the stuff that came later, work that attempted to wed painting to literal three - dimensionality.

His works explore modernism through works using grid - like structures, with paintings incorporating maps and focusing on issues of cultural translation.

In the «frame» painting, «Old Kiln» (2012 - 15), there is a little wooden, block - like structure, with a black smokestack mounted on top of the frame on the painting's left side.

Mental maps form the basis of his working method: they push against the edges of the picture plane; his larger paintings exceed a strictly 2D plane, being more like relief sculptures, employing layer upon layer of collaged forms — abstract painting, ephemera from travel, photography and juxtaposed linear structures — to denote the performative aspect of his initial research.

These sometimes become hallucinatory videos (like Hallucinating Love that was screened on Yama in December 2006), hand printed fabrics, wall paintings and expand to installations and structures in which material and lines come together.

There's the part of painting that is just an activity, and if you like paint or color or gesture or drawing or a certain kind of surface, you're going to end up making paintings — and then you're just going to have to grapple with the structures around that.

Smith's ideogrammatic, two - dimensional representations of carton - like structures shared the sensibilities, rather than replicated, the presentation of objects in modern life, an idea that sustained endless renewal in his paintings.

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.

As we reassess the various power structures that landed us here, it is stabilizing and reassuring to look at the work of an artist who is clearly in control of her craft, who is able to depict a reality that is material and grounded in recognition — of seeing, in the Facebook age, a painting that looks like who it is meant to.

Three bodies of work emerged around this time: the Step paintings, stacked rectangles and squares and irregular ladder - like structures; the horizontal Mobius Band compositions anchored by tiny squares of solid color; and the small - scale Heart Beat paintings, straight lines radiating from a half moon shape and pulsating with energy.

In the 1970s, Bayrle's painting coexisted with music by groups like Kraftwerk and Can, who through focused sonic repetition referred to the structures of the postmodern world (highways, computers) while resisting western music traditions.

Other noteworthy works were a Katherine Bernhardt canvas of her usual 2 - d miss - mash of objects, Puppies Puppies, Nolan Simon's Earth which took up most of the What Pipeline (Detroit) booth, forcing fair - goers to squeeze into odd spaces and angles to view the paintings on the walls, and Mika Tajima's spray - painted Jacuzzi - like structures at Eleven Rivington (New York).

«Here's why I am perfectly comfortable operating within the realm of painting with the goal of entering the museum as it is currently structured: if I don't do it, or if other people like me don't do it, we will be condemned to celebrate European beauty and Europe's artistic achievement in perpetuity,» Marshall said.

The Black Paintings (1951 — 53) incorporated texture under the painted surface by way of collaged newspaper that sometimes indicates a grid - like structure.

He illuminated the disc paintings so they cast a complex of shadows: He trained spotlights on the disc paintings so they cast complex shadows, they looked both ethereal and substantial, like structures of light.

The exchange of movement and interplay in the installation will be navigated through freestanding frame - like structures fashioned into geometric patterns and abstract paintings.

Lum's colorful and structured compositions read like precious origami in various stages of unfold — each composition revealing a harmonious juxtaposition of the artist's own dissected photographs, opaque acrylic paint, drawings and occasional comic fragments.

While she does this, she variously draws on panels inset into Hex - Washroom — she swaps these out periodically for others hung like paintings on a nearby wall — and pulls on her pulleys to slowly tip over her washroom structures, as if they were clunky, rather ineffectual balls themselves.

Carol Bove, like Koons, introduces a bit of commercial mundanity in her Third White Sweater Painting (2016) by recasting the repetitive monochrome structure favored by Minimalist icons Agnes Martin and Robert Ryman, both of whom appear here, as the design of a cheap sweater.

Terry Winters» complexly structured drawings and paintings, with emblematic bloom - like figures unfolding at their center, share qualities with the side - by - side Herb, Dry, and Alpine Gardens.

«Yuen's paintings work on us like a silent ululation, a harmony of opposites, a pulsation of a hidden, yet informed rhythmic structure.»

Groff introduces Tompkins work noting: «What is remarkable about these paintings isn't just the amazing technical skills in achieving these monumental structures but in how he makes it seem like it's all such great fun.

Several of the works question our ideas about the materiality and permanence of the built environment, with bricks made of wax, wall plugs crafted from onyx, reassembled ruined structures, and bodies painted to look like stone.

Over time, his innovative sharp - focus effects helped him to paint detailed and smooth - surfaced compositions that best suited his self - proclaimed style of Precisionism - a style of realism that focused on linear precision so as to capture the exact geometric shapes of skyscrapers and other similar structures, like industrial factories, machinery and associated plant.

A tree - like structure, set with a number of painted tambourines, look upon this projection, embodying the video by rattling to the effect of its audio channel.

Eva Sturmlin's four variants on a ring - like structure reminiscent of bone seem involved with refining a statement about the act of painting itself.