Sentences with phrase «painting studio walls»

Not exact matches

His renegade streak extends to Seyler's classroom at the Grandview Park Baptist School in gritty East Des Moines, where he has painted so many brightly colored quotes and pictures onto the walls that it looks like a pop artist's studio.

My once private studio was opened to the public for business stocking Annie Sloan's decorative paint - Chalk Paint ® for walls, furniture and cabinetry.

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These 31 homes — all designed with dark - grey PVC flooring and bright white painted walls — range from studios to four beds; seven of them, located within the printshop, are affordable live - work studios for artists registered with the Maison des Artistes association.

All I have on the walls in my studio are paintings from the biggest specific artistic inspiration for me.

The Times column «Show Us Your Wall» ventures to the Hollywood offices of the animation studio Titmouse, which features «an original comic book page from «Dune,» a signed watercolor of the singer George Clinton by Overton Loyd and a thrift store painting of Elvis in various stages in his career.»

I put them up on a wall of the studio with blue paint tape from Lowes and sold them for $ 1 a piece.

In his studio, Marshall showed me a painting of a man lying on his back on a bed, his feet propped up against the wall.

We found on our first visit to Anderson's studio one of the walls dominated by «Idyll III», a painting Anderson had been working on for more than thirty years.

This transition from figuration to abstraction was accompanied by new working methods: his paintings became larger and he abandoned the easel, often pinning his canvases to his studio walls or floor.

This might mean, for instance, repainting your painting wall, since that's usually the best vertical surface in the studio.

It is believed that de Kooning also impacted him to scale up the work, encouraging him to explore the paintings using an enlarger — Bell - Opticon projector to project a sketch onto the wall of his studio.

Propped against the wall of her second - story Hollywood Boulevard studio, three of Liat Yossifor's gray paintings — each about seven feet by five feet — in various stages of completion sit perched on low wood supports.

To make her oil paint monoprints, Nicole Ondre rubs a piece of paper against a newly painted section of her studio wall.

To produce these paintings Richter begins by placing a number of white primed canvases around the walls of his studio, eventually working on several of them simultaneously and re-working them until they are completely harmonized.

For her fly - on - the - wall documentary Gerhard Richter Painting (2011), Belz spent three years in Richter's studio, capturing the artist pulling paint across the canvas in what appear to be physically draining gestures.

At the press opening, in the conservation studio that has a glorious floor to ceiling wall of glass on the Hudson (light, light, light), a kind and concerned professional explained: «We have put glass on many paintings for the first few months, because, having learned a lesson from the Tate Modern, we are expecting much larger and much different crowds from the old location, people who do not pay attention to their backpacks or care much about the art.»

«Her studio space is tight, the walls sparsely adorned with small drawings and paintings made by her 13 - year - old daughter, Charlotte....

Shaped pieces of painted electrical conduit, pulled from the walls of his own studio, form the semblance of a mask, revealing the painting, Son on the Steeple, behind.

Four paintings here feature his trademark stripes, in blue or silver or red or black, spanning the unstretched canvas and bulging out from the wall; you can see the creases where he folded the canvas and the punctures where staples held it to his studio wall.

The walls of the Parrish Art Museum were painted the same color as those in Dorothea Rockburne's studio when these artworks were made.

She works on multiple canvases concurrently as the paintings migrate around her studio — from the floor to the wall and back again — sometimes taking over a year to complete.

When she paints the studio in which Claude Monet once thrived, she represents paintings on the wall as empty frames.

An artist associated with San Francisco's Mission School, Chris Johanson merges the exuberant visual vocabulary of street art with the more formal techniques of studio painting to create fresh and funky works that leap off the wall.

As a studio assistant, she worked on his wall paintings and open cubes.

Sarah took this picture of me in 1993 at my studio at the Marie Walsh Sharpe Foundation Studios, then in Tribeca, with in the background some of my work, a segment of War Frieze in the wall, top, and some of my punctuation mark paintings.

Indeed, the only vestige of her conservative schooling is a simple portrait of a young gentleman collaged onto «Lovestory,» a multifaceted painting depicting an imaginary studio wall hung with various sketches and studies.

When on January 28, 2013, I made my first visit to Annette Lemieux's spacious studio in Allston, Massachusetts, I was delighted and excited to see a museum - quality array of over a dozen paintings, sculptures, and photographic prints arranged on the walls, floor, and propped up on a variety of chairs and stools.

Curated by Director Dr. Karl E. Willers and the Museum's staff, highlights of «Kenny Scharf» include the expansive mural Pop Renaissance that surrounds the viewer, a version of the artist's Cosmic Cavern club - like environment, and a recreation of the artist's former Brooklyn studio complete with spattered walls, painted furniture and other workspace ephemera.

Con Te Partiro (Time to Say Goodbye), 2006, for example, presents a cluttered studio — paint encrusted palette, paint splattered floor, photographs and paintings covering the walls, a tripod - mounted camera in the center of the room — seen from above.

The installation features a series of interconnected wall drawings and mobile - like sculptures made up of his signature scrap paintings — bits of tape and overspray that have been stripped from his studio walls and carefully arranged on paper and clear mylar.

Twenty - eight - year - old Mack recently relocated his studio from a room within the Studio Museum in Harlem, which he occupied as part of a yearlong residency, to a sprawling space in the Bronx, scattered with paint, peg boards, packing blankets, umbrellas, and other sundry objects, all fodder for his visceral sculptures and wall - hangings.

To create this piece, Roth literally removed the floor from his studio in Iceland and installed it directly in front of a gallery wall, as one would place a painting.

Representations of the wall of the studio, illustrating both the artist's own work and that of others, were also prevalent in the postwar period, as seen here in paintings by Richard Diebenkorn, Helen Frankenthaler, Roy Lichtenstein, Robert Rauschenberg, and Larry Rivers.

Color in her paintings — from smudged whites and grays to earthen browns and blacks — seeps out from the floorboards and brick walls of the old carriage house that has been her studio for many years.

There are scores of other recent examples of secret art — shows of paintings by Wade Guyton and Stephen Prina that appear suddenly, announced to only a select group, each year for a single day at Friedrich Petzel Gallery (most recently in March); a two - person show last summer at the Untitled gallery with a rear wall that, when pushed, swiveled and, like a James Bond - style hidden - door bookcase, opened onto a prodigious group show; the recent obsession over Kraftwerk's über - secret studio in Germany in advance of the group's MoMA retrospective; the hidden rooms and trap doors in Swedish artist Klara Lidén's shows (there's one in her current New Museum retrospective); and a drawing by David Hammons at MoMA that was covered with a cloth and unveiled only a few minutes a week by appointment at select times.

As far as my exhibition at PC — G is concerned, each work on clear mylar, which are kind of like «mobiles,» are composed of pieces of painted tape from my studio walls, past paintings and installations.

In the main space, I'll hang recent paintings, but in the entrance, I'm installing a bank of digital prints, scanned from the things I pin up on the studio wall on impulse.»

His facility with the brush was honed in an earlier series focusing on Balthus's studio, which translated the evidence of the artist's activity on the floor and walls into marks and splatters on the surface of the painting.

In Sticky Pictures, Werner makes visible the source material of her paintings — not only the subject in the photograph, but also the photograph itself; the material quality of the printed image, its traces of weathering, handling and use, its physical presence as an object lying on the corner of a table or hanging loosely on a wall, in a space that might be a studio.

The backs of a few of the works are brightly painted, allowing a glow to extend onto the wall behind them, further blending the structures themselves into the studio space.

Then you plunge into darkness and a series of paintings hung against walls painted in a somber color that suggests the atelier braun (studio brown) that Oswald Spengler identified as the «metaphysical» tone of great Rembrandt interiors.

The sheer size of the studio and double height of the walls allowed him to come out of the gate with huge paintings, some as large as ten feet long by six to eight feet high.

Hung just as they were in his studio, Raoul De Keyser's last paintings now occupy a wall at David Zwirner gallery in London.

Through a range of image sources and her stage - like environments, such as gallery walls painted with Chroma Key blue paint used in film or TV studios, Hamilton explores our associations to surreal and seductive cultural imagery while examining the histories of art, film, and performance.

These are paintings composed of paintings, setting up a further point made by Elderfield in the way the show is hung: from depictions of the studio as an interior he zooms in on the many ways in which artists pick a wall full of images (Diebenkorn's Studio Wall created in 1963 based on the scene in his studio in the Triangle Building in Berkelwall full of images (Diebenkorn's Studio Wall created in 1963 based on the scene in his studio in the Triangle Building in BerkelWall created in 1963 based on the scene in his studio in the Triangle Building in Berkeley).

Inspired by Cubism, Nevelson took scraps of wood and other materials found on the street near her studio and assembled them into free - standing and wall - mounted sculpture that she would paint a solid colour — most famously, black or white.

In an ongoing series, Finch captures the changes in natural light on his studio wall through faint washes of paint — recalling Mondrian's concern with moments of transition, the captured half - lights of twilights and sunsets.

Their built - up layers of paint and collage elements make them the most time - consuming works Bradley produces, as does the sculptural, three - dimensional way in which they are painted: on the floor, tacked to the wall, and on the back of the canvas, picking up studio detritus along the way.

The dark - walled, dimly - lit front gallery at Kent Fine Art housed a re-creation of Petlin's studio in Paris in 1960 — a desk and table with buckets of coated paint brushes.