Sentences with phrase «paintings as poems»

Not exact matches

We get to give to stop human trafficking, serve the elderly and widows... our lives are exciting and overflowing with the Joy that comes Ion following Jesus:) we worship with dance clapping sometimes everyone grabs an instrument to play, we draw or paint what the Holy Spirit leads us to, share dreams go over scrioture watch bible movies it's awesome and we love it, we get to write poems and devotions that we wouldn't have time for before in the four walls as we would b too busy in man's busyworks.

Adding a handprint or footprints or even a tea pot as the theme for your artwork or a framed homemade painting is a great memory and combining these with a poem is another way to bring tears to Mom's eyes!

The documentary, «Kids with Cameras,» following children with autism as they learn how to express themselves through films, poems, painting and music — now just $ 15

Very talented in different forms of the arts, love drawing and painting, love poem written, certified black belt martial arts and fitness instructor as well as professional barber, besides all that, enjoy stimulating conversation and cooking, hate lying and people who look to.

When Truffaut calls The Birds an «apocalyptic tone poem,» he could easily be talking about this picture that paints a cold, tiny portrait of a settlement hewn together from wet logs and animal comforts wholly inadequate as insulation against the wild.

Last ~ we still have no articles ~ no revenue stream ~ no paintings ~ no poems ~ no essays and no audience; but ~ we do have experience as a small start - up company!

Each broad, double - page spread features a short, accessible poem about a subject such as the sun, each of its planets, a comet, a constellation, or the universe, set within an impressive painting.

In this book, which Morris describes as a «wild dictionary», she created the most stunning paintings to illustrate twenty of these words and each is accompanied by an acrostic poem, a «word - spell» by Macfarlane.

He goes on to define what he means by high and low art and as an example he draws the contrast between a poem by T. S. Eliot and a Tin Pan Alley song; or a painting by Georges Braque and a Saturday Evening Post cover; all being examples of contemporaneous culture.

This exhibition gathers Freilicher's paintings and drawings, as well as two videos by Rudy Burckhardt, and features four vitrines containing photographs, book covers, letters, and manuscripts — some poems with lines crossed out and handwritten additions in the margins — that point to the interrelated friendships between painter and poets, and to the development of work at hand.

Three additional rooms in the exhibition include other accounts of the Migration, including novels and poems by writers such as Langston Hughes, Claude McKay, and Richard Wright; photographs by Dorothea Lange, Ben Shahn, Gordon Parks, and Robert McNeill; sociological tracts by Carter Woodson, Charles Johnson, Emmett Scott, and Walter White; and paintings by Charles Alston, Romare Bearden, and Charles White.

In these paintings the artist recognizes the poem as a background to his work.

These works act as time - based pieces as do the chronological color paintings and poems.

As one of the most versatile creatives of the beginning of the 20th century, he also expressed himself in paintings, drawings, collages and poems.

His five recent paintings are joined by Philippe's steel sculptures, which «reference tall bird perches while doubling as figurative bird like poems,» and muted paintings of hill - like forms.

Included in the Leyden Gallery show are mostly recent smaller - scale (for Koorland) script paintings of songs and poems, made this past year or two with an intimate, note - to - self quality, with an occasional older piece, inserted, as Koorland says, for content and colour.

The selection includes works by the foremost practitioners of the art of miniature painting in England, Nicholas Hilliard and Isaac Oliver, and portraits of writers, such as William Shakespeare and John Donne, who wove miniatures into contemporary culture through references in their plays and poems.

In his essay, Eleey writes that Connors» paintings «bear traces of one another, but they also sometimes prop each other up or lean into each other, as if to physically reinforce, in painterly terms, Jack Spicer's ideas about the interdependence of poems.

Every summer I cross it, thrilling again to its span and the river beneath me, just as in so many American paintings, photographs, and Hart Crane's book - length poem.

In keeping with the theme of the exhibit, works, such as the Aurel Schmidt piece here, (including painting, drawings, poems) were «unfinished» and displayed on the floor or leaning against walls.

His black - on - black «Black Dada» paintings — which incorporate letters from the titular phrase — reference the artistic and literary movement that arose in reaction to what he has referred to as the «state - sanctioned physical and intellectual brutality» of World War I, as well as LeRoi Jones's 1964 poem, «Black Dada Nihilismus.»

On view in this vast exhibition are Sonia Delaunay's textiles and preparative studies, as well as poems, paintings, and photographic documentation of her patterns applied to window displays and even automobiles.

Chris Ofili has taken imagery and inspiration from such disparate, history - spanning sources as the Bible, hip - hop music, Zimbabwean cave paintings, films, and William Blake's poems.

The title of the exhibition comes from a William Carlos Williams poem («To Elsie») and includes work by Blalock, Lehr, and Owen Kydd as well as photographs by Walker Evans, Pratt alumna Jan Groover (BFA Painting,» 65), and Aaron Siskind.

The poem appeared in four parts, arranged as a cubed sculpture in - the - round and formalistically referenced to Kazimir Malevich's four black square paintings made between 1915 and 1930.

Some of the works included in the exhibition explicitly engage with Eliot and his writing, such as Philip Guston's grim deathbed painting East Coker: T.S.E. (1979); David Jones's painted inscription Nam Sibyllam (1958), made as a gift for Eliot, which combines the text from Petronius that is The Waste Land's epigraph with the opening lines of the poem and other phrases connected to the Grail myth; Graham Sutherland's two Illustrations for T. S. Eliot (1973); and Vibeke Tandberg's The Waste Land (2007), which consists of 36 collages in which the artist has cut out each of the words of the poem, and re-organised them alphabetically and in groups, at once fragmenting Eliot's poem of «broken images» even further and bringing its underlying verbal structure to light.

Also included are recent acquisitions such as Dia Azzawi's 1968 work A Wolf Howls: Memories of a Poet, a painting based on the poem «Hassan Al Shammus» by Muzaffar Al Nawab.

For the group show EARS FOR THE EYES curated by Paul Carey - Kent at Transition Gallery (10 February — 4 March 2017), you are presenting a painting entitled «Falling on Deaf Ears» as well as a poem entitled «Hearing aids».

Which makes it all the more puzzling that he would mistake the old woman in Andrew Wyeth's famous painting «Christina's World» for a girl, as he does in his poem «Girl in White with Trees.»

I love the way Brueghel's bird's - eye view of humanity conveys weight and whimsy, as in «Mad Meg» or «The Triumph of Death» — and as Auden's poem about his Icarus painting illuminates.

His paintings of deadpan phrases such as «I Du n no» and «Just Us Chickens» read like absurdist love poems written in the sky.

Josef Albers wrote a prose poem at that time which serves as much as a witty coda for this exhibition as it did for his earlier compatriots — and is very much in keeping with Temkin's admonishment to let these paintings have our undivided attention.

«As if one's own liberated language could speak for itself / in a medium as overdetermined as painting,» the poem sayAs if one's own liberated language could speak for itself / in a medium as overdetermined as painting,» the poem sayas overdetermined as painting,» the poem sayas painting,» the poem says.

Widely acknowledged as a great master of collage, Schwitters» diverse body of work cut across boundaries, hierarchies and media to include painting, sculpture, typography, poems and performance pieces, and it anticipated most of the leading art movements of the late 20th century.

Loosely taking its title from the first canto of John Shade's poem in Nabokov's 1962 novel Pale Fire, the titular work in the exhibition, cymbals of sleep uncurtain the night, continues McAllister's ongoing engagement with painting as both transportive portal and decorative artifice.

The book offers an intimate introduction to Steir's most recent paintings and includes a conversation between Steir and Sylvère Lotringer, the founder ofSemiotext (e), as well as three poems that Steir published in the «Schizo - Culture» issue of the magazine; «Trance Abyss,» a poem by Anne Waldman; an essay by art historian and curator Courtney J. Martin; a detailed chronology illustrated by archival images; and high - quality photographs of Lévy Gorvy's installations in both New York (currently on view), and London (2016).

De Luca's series is systematic and includes ten painted elegies, the same number as Rilke's poems.

This publication features a vast range of historical paintings, political tracts, poems and ballads, as well as new work by Deller.

Whatever I do — write a poem, direct a film, give a performance, paint a picture — he is in the back of my mind as the person I am trying to impress.

In his extremely diverse oeuvre, Ofili has taken imagery and inspiration from such disparate, history - spanning sources as the Bible, hip - hop music, Zimbabwean cave paintings, Blaxploitation films, and William Blake's poems.

In his diary, Anselm 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 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.»

He referred to the way Wordsworth reworked his poems — his spontaneous overflow of powerful feelings — much as Motherwell reworked his paintings.

Along with Lawrence's series, the exhibition includes other accounts of the Migration from the era, including novels and poems by writers such as Langston Hughes, Claude McKay, and Richard Wright; music by Josh White, Duke Ellington, and Billie Holiday; photographs by Dorothea Lange, Ben Shahn, Gordon Parks, and Robert McNeill; sociological tracts by Carter Woodson, Charles Johnson, Emmett Scott, and Walter White; and paintings by Charles Alston, Romare Bearden, and Charles White.

On the one - hand, there's a real emphasis on the gritty «one - off» nature of the tiny, stretched and stapled oil paintings that serve as the work's covers, and the even smaller Frank Sherlock poem that is secreted away in the back of each painting, tightly folded into a rectangle like spy data and tucked behind a hatch.

In his essay Avant Garde and Kitsch, published in 1939, the American art critic Clement Greenberg marvelled: «One and the same civilisation produces simultaneously two such different things as a poem by TS Eliot and a Tin Pan Alley song, or a painting by Braque and a Saturday Evening Post cover.»

Kushner painted on pages from discarded books that cross centuries and cultures, such as a collection of French Christmas poems, 19th century Spanish algebra lessons, a Tsarist treatise, handwritten letters, and a volume of Japanese Noh plays.

Born 1982, Auckland, New Zealand Education 2009 Meisterschule, Städelschule HFBK, Frankfurt am Main 2005 BFA, Elam School of Fine Arts, University of Auckland Solo exhibitions 2018 «Games of Decentralized Life» Galerie Buchholz, Cologne 2018 «The Founder's Paradox», MOCA Museum of Contemporary Art, Cleveland 2017 «The Founder's Paradox», Michael Lett, Auckland 2017 «The Founder's Paradox», Michael Lett, Auckland 2017 «Shenzhen Entrepreneurial Form», Fine Arts, Sydney 2017 «FaaS — Feedback as a Service: Reflecting on messaging, debate and criticality inside a parliamentary discussion on internet governance», Bozar, Brussels 2017 «Simon Denny: Real Mass Entrepreneurship», C2 Space, OCT - LOFT, OCAT Shenzhen 2017 «Hammer Projects: Simon Denny», Hammer Museum, Los Angeles 2016 «Secret Power», Museum of New Zealand Te Papa Tongarewa, Wellington 2016 «Blockchain Future States», Petzel Gallery, New York 2016 «Business Insider», WIELS, Brussels 2015 «Products for Organising», Serpentine Sackler Gallery, London 2015 «Secret Power», New Zealand Pavilion, 56th Venice Biennale 2015 «The Innovator's Dilemma», MoMA PS1, New York 2014 «The Personal Effects of Kim Dotcom», Adam Art Gallery, Victoria University, Wellington 2014 «New Management», Portikus, Frankfurt am Main 2014 «The Personal Effects of Kim Dotcom», Firstsite, Colchester 2014 «TEDxVaduz redux», T293, Rome 2014 «Disruptive Berlin», Galerie Buchholz, Berlin 2013 «The Personal Effects of Kim Dotcom», mumok, Wien 2013 «All You Need is Data — The DLD 2012 Conference REDUX rerun», Petzel Gallery, New York 2013 «All You Need is Data — The DLD 2012 Conference REDUX», Kunstverein München 2012 «Full Participation», Aspen Art Museum, Aspen 2012 «Envisaging Vocational Rehabilitation» (with Joanna Fadyl), Westfälischer Kunstverein, Münster 2011 «Corporate Video Decisions», Friedrich Petzel Gallery 2011 «Corporate Video Decisions», Michael Lett, Auckland 2011 «Cruise Line», NAK Neuer Aachener Kunstverein, Aachen 2011 «Chronic Expectation: CFS / ME Documentary Restoration», T293, Rome 2011 «7 Unreachable Elevators», IMO, Copenhagen 2010 «Negative Headroom: the broadcast signal intrusion incident», Contemporary Art Museum, St. Louis 2010 «Negative Headroom: the broadcast signal intrusion incident», Halle Für Kunst, Lüneburg 2010 «Remote Tutorial: hate poems for travelers», Landings Project Space, Vestfossen 2010 «Introductory logic tutorial video», Artspace, Sydney 2009 «Celebrities» houses at night: a projection», Standard Oslo, Oslo 2009 «Starting from behind», Michael Lett, Auckland 2009 «Deep Sea Vaudeo», Galerie Daniel Buchholz, Cologne 2009 «Watching Videos Dry», T293, Naples 2009 «7 Drunken Videos `, Luettgenmeijer, Berlin 2008 «Aquarium Paintings (with Nick Austin)», Center, Berlin 2008 «Ruined by Sheer Confidence», Caribic Residency, Frankfurt am Main 2008 «Alexandra Bircken / Simon Denny», Ursula Blickle Stiftung, Kraichtal 2008 «Recent Haircuts», Uplands Gallery, Melbourne 2008 «Recent Haircuts», Gambia Castle, Auckland 2007 «Compression Club», Michael Lett, Auckland 2007 «Monthly Cowards», Gambia Castle, Auckland 2007 «Paltry Motion», Dunedin Pubic Art Gallery, Dunedin 2006 «Old Entertainment System», Window, Auckland 2006 «Scape», Art & Industry Biennial, Christchurch 2006 «Old Things», Michael Lett, Auckland 2005» Arranging Sympathies», Volume Series, The Physics Room, Christchurch

A foot - square Martin painting from 1999, the pictorial equivalent of a one - stanza poem, hangs directly above Andre's «Copper - Zinc Plain» (1969), forcing the viewer curious to study it to tread on Andre's grid of elemental metal plates, as he intended.

It's not simply the sequel to High Times Hard Times, nor the revision of genealogies traced in the «Provisional Painting» essays, nor the direct extension of ideas explored in «Abstraction Out of Bounds» — though it shares something in common with each of these.2 Though it's not necessary to think of the show in conjunction with anything else at all, it could be interesting to consider it, since I've been pursuing comparisons thus far, as a sequel to one of Rubinstein's poems — for example, his «Some Ways of Looking at «Some Trees»», 3 part of which goes: The artist whose work inspired this experiment once titled a canvas «Contempt of one's work as planning for career.»