Sentences with phrase «painting support materials»

Not exact matches

Though teachers unions are traditionally painted as opponents to merit pay and defenders of the status quo, the American Federation of Teachers has supported several locally - based merit - pay experiments, while saying in its official materials that «it is not abandoning the traditional salary schedule.»

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Most painters use the support and material to create a surface on which they will create their painting; whereas I wanted the material, the structure and the support to make up the composition of the painting.»

Each work is an instance of a ripped frescoes, a technique developed by the artist in the 1980s which brings together two key moments in his paintings: a construction, based on a site, as a process for the formation of a support; and a reluctant walk (of a fake restauration) in the memory and the material history of the painting, of deconstruction, subtraction, a kind of intimate and forged archaeology, where a re-emergence of an unexpected fragment in the shape of clay, mosaics or shred (of colour or material) can become the focal point of the whole painting.

The artists range from Yves Klein, who applied his single, flat shade of blue indiscriminately, to Ryman, who nurtured the materials of paint and its support.

After introducing wood and other materials in the Polish Village series (73), created in high relief, he began to use aluminum as the primary support for his paintings.

Impressively, this homogeneity of design is balanced by a bold experimentation with all other aspects of painting, using a variety of material supports and employing a wide range of scales.

The exhibition «In Different Ways» at Almine Rech Gallery focuses on how artists have developed unique techniques — at times diverse within their own oeuvres — using a brush, airbrush, spray paint, silkscreen and even pouring paint, collaging a range of materials, questioning canvas and wood support structures, or a combination of these processes.

No longer sidelined as painting's invisible support, weaving is both source material and subject matter.1 In eleven new editions, however, Grabner puts aside the painting - weaving dialectic to explore the material surfaces and patterns of prints and textiles.

Around 1970 he began to describe the material supports of his paintings as «developers», and his disrupted surfaces not so much pictures, but energetic imprints, like a photograph.

Natalie Reusser's experiments evolve from a fundamental engagement with the materiality of canvas and paint to a body of work, in which the textile qualities of the supporting material become the focus.

In 1975, Burri started to use the material not just as an invisible supporting ground for his paintings, but as his subject, exposing the material.

Besides the curators, the press materials for the show also mention the support of Shelley Farmer of Hirschl & Adler galleries (another fine source for Porter's paintings) as well as Sheila Geoffrion (Welliver's third wife) as having a hand in gathering the works that are part of the show.

The porn paintings in the show are brilliant in their combination of content supported by the materials.

Presented always in painted, handmade supports, they bring attention to the potential of our relationship to material and form.

Because she paints on industrial supports, aluminum panels or layers of plexiglas often bolted to the wall, Enteles» works contain an inherent tension between the organic subject matter depicted and the materials with which they are constructed.

They also call attention to its material support, and up close one perceives the paint as a series of thin layers on equal footing with canvas.

He executes the paintings, like Shiraga, with the supports on the ground, but he uses techniques from Japanese nihonga, traditional painting with attendant materials.

After introducing wood and other materials in the Polish Village series (1970 — 73), created in high relief, he began to use aluminum as the primary support for his paintings.

The Griffin Art Prize is supported by leading fine art materials brands, Winsor & Newton, Liquitex and Conté à Paris as part of their long term commitment to support new and emerging talent in painting and drawing.

Maine's use of carefully chosen pre-existing materials deployed in the «real» space found just in front of the supporting wall sculpturally counters the illusionistic tendencies of painting while clearly echoing painterly concerns with color and structural relationships.

First, the acrylic paint film is a soft, pliant material, in order to give the film enough rigidity to hold its shape, the acrylic sheet must be reinforced with some type of internal support.

A much - revered figure in the art world, Robert Ryman has, over six decades, continuously and methodically experimented with the different possibilities inherent within a painting — abolishing color in order to focus on material, brushstroke, support, and scale.

If the artist's paintings point elsewhere - whether to adobe architecture, the New Mexican desert, or some similar sense of the works» material origins - these untitled photographs position themselves as supporting evidence of Dash's studio artisanry.

Using what he calls a «peeling process,» Hollingsworth waits for the material to toughen and then separates the paint from the plastic wrap support before placing it directly onto the canvas.

With references to abstract expressionism and the action painting of the 1960s, process rather than product is of central importance to West's work, a fact supported by the lengthy titles given to each film which act as thorough, even pedantic narrative accompaniments to the work, elucidating the abstract marks onscreen as the films are literally infused by the materials only through their titles.

As an artist interested in mining the dense marks and language of the urban environment, married with a concern for contemporary abstract painting, the easiest thing in the world would be to embrace a provisional aesthetic of rough materials and utilitarian supports.

However, unlike these artists he chose to examine the act of painting and the materials used to do this, reducing his work to a simple equation of canvas or other support, and white or off - white paint.

The studio began as a painting darkroom, crossing photographic fluids with ink, and over the years the range of materials, supports and surfaces has broadened significantly.

Her use of wood panel as material support and her frequent grounding of the picture plane in photo - based silk screening, underscore the perceptual, perspectival and durational experience of painting as an assessment of the larger social, historical, personal and architectural contexts in which her work appears.

His works surprisingly multiply the spatial effects of white by ranging broadly in modes of paint application, assorted support and surface materials, and repertoire of hanging devices.

The regained breath of space allows taking in with one glance each of the gallery walls, where works are knowingly grouped so to highlight, respectively, the heterogeneous material supports Ryman used, the attention he gave to the joints between the painting and its backdrop, the manifold modes of paint application, and the muted nuances coming across layers of his signature white paint.

Each canvas is prepared with an undercoat of screen paint, the kind used by home movie enthusiasts, so that the support itself is literally a screen onto which the painting is materially «projected»; this material collapse of image, time, sound and narrative onto a fixed canvas - as - screen becomes a kind of «terminal projection» of the film, a «petrified cinema».

For several years, Gibson has created shaped canvas paintings incorporating rawhide as support material.

Then, announcing a return to sensuous materials, she questions the traditional supports of painting — canvas stretched over wooden frame.

Figurative works by Francis Bacon and Alberto Giacometti, which explore the human body and add a psychological dimension by means of painting, are followed by works of Josef Albers, Piero Manzoni, and Lucio Fontana that emphasize the support as such in its three - dimensional character and material quality.

Fuelled by a love of fashion, form, and material, Mack fuses paint with readymade fabrics, structures of support and his own clothing.

This accompanying material sheds light on the processes that influence the appearance of the works: the role of supports, hanging devices, methods of paint application, and techniques of painting straight edges and lines.

The printed image becomes the support for the paint, as well as the material that ultimately gets applied to the surface of the canvas by being torn, glued, and reapplied in a chaotic, yet methodical, manner.

His paintings, linear representations of banal scenes, combined a Pop - style mockery of pictorial illusion and a Minimalist reliance on industrial materials (his favored support was Celotex, a textured ground created from sugarcane pressed over panels).

All of the works in this exhibition are united by the use of paint, a brush, and a support to emphasize the complex and varied manner in which artists use similar materials.

During a period when Rockburne was completing a body of process - based works made from chipboard stained with crude oil, her own assistant was Carroll Dunham, whose early paintings employed different types of veneer as support that, in their material investigations, harken back to this period.

Expanding the notion of painting, Supports / Surfaces artists stressed the experimental use of non-art materials and valued process over image.

The window shades fluctuate between being read as abstract, geometric, raw materials, as apparently at hand, non-traditional painting support, and as aesthetic images of shades, as well as of course also being direct presentations of real shades.

Storr began by saying that, for the high - art world, comics had long been viewed as merely supporting materials to painting, and that the long - overdue elevation of comics to capital - a art has finally arrived.

In creating these works, the artists used various techniques including altering the outline of the canvas, building up relief, cutting into the plane, and using materials alternate to traditional canvas as support... Shaped canvas works became popular in the 1960s as artists sought to emphasize the potential for paintings to be considered objects.

His paintings» supports include slatted wooden panels, large joined together sheets of paper, and found materials.

Estes has experimented with a variety of paint applications, alternative supports and a wide range of materials that has led to her latest works.

In the early 1960s French contemporary art was dominated by the far - left avant garde Supports - Surfaces group, whose members painted large - scale canvases without stretchers (the physical support behind the canvas), while materials were often cut, woven, or crumpled.