Sentences with phrase «paintings continuing like»

He suggested that we think of your paintings continuing like messages.

Not exact matches

Media is happy to paint what - ever picture will get the most views and the WengerOut / WengerIn debate is like turning lead into gold for them, they will keep using it to get people reading and happy to perpetuate misinformation for the continued views.

The former governor stood by his previous statements that Astorino is very smart and reasonable even as the party continues to paint the Republican as an extremist out of touch with New Yorkers on issues like abortion, gay marriage and gun control.

2014 continues to exhibit the theme of an old style SUV that when painted olive (Army Green) looks very much like a military vehicle.

All Polos also continue to come with handy features like remote window opening / closing, four auto up / down power windows, internal headlight range adjustment, a chillable glovebox, variable - height luggage floor, heated wing mirrors, programmable two - stage unlocking, driver's seat height adjustment, 12 - year corrosion warranty and a wide range of paint and accessory options as listed here.

Kintamani Tour will visit places of interest in Bali like Watching Barong and Keris Dance performance or Trance dance is traditional Balinese dance with story fighting Good and Evil, then tour continue to visit Celuk Village for see the process making traditional gold and silver art, Batuan Village for see the process making traditional painting art in this village, then we heading to kintamani for see the magnificent view of Active mount Batur and Lake batur view.

I'm a self taught artist, and have sold paintings and continue to, but i feel like I would be more confident in my work and be able to charge more for my art if I had some formal training behind me.

Dine, by now considered an important young artist of the period, continued to produce highly evocative works involving the paraphernalia of everyday life — paintings and constructions of robes, household utensils, ties, toothbrushes and utilitarian objects placed like props in front of various colored canvases.

Like ballroom dancing, painting continues alongside more contemporary practices, and within the (in) discipline of painting representation and abstraction co-exist.

I am currently using more traditional art materials like paper, ceramics, paint, and wood but have also, and continue to use landscape materials bacteria and more contemporary means of facture like digital modeling and production.

In what I consider to be the strongest mainstream of American art, (continuing the powerful tradition that emanated directly from American artists like David Smith, Alexander Calder, Willem de Kooning, Franz Kline, Mark Rothko, Jackson Pollock, Stuart Davis, Edward Hopper, Milton Avery, Marsden Hartley, John Marin, Albert Pinkham Ryder, Clyfford Still, Robert Motherwell, Hans Hofmann, and others), American artists created painting and sculpture that explored and expanded the vocabulary and boundaries of visual expression.

Turner Prize nominee Angela de la Cruz continues to do what she does best by disrupting abstract painting altogether with a painted canvas hung loosely from the wall like a cape or deflated balloon.

Coaxing his forms to adapt to the natural textures and designs of each panel, Dunham would continue to paint wildly organic, colorful, and cartoon - like organisms as his career matured.

In 2011 he took up the post of chief curator at the Dulwich Picture Gallery, another small but respected London institution that — like the Wallace Collection — boasts an impressive collection of Old Master paintings, a significant historic building, and an institutional legacy that continues to define how it operates today.

Moreover, if one considers the alternate history of Schapiro's having continued to work in this vein of geometric abstraction, given the typical narratives of the time, her career would likely have plateaued in relation to a colleague like Held, in part because he was a male artist, with all the privileges that brought, and in part because he was, in that mode, perhaps a stronger artist: as impressive as «Byzantium» is, it can't compete with the impact of Held's paintings as paintings, their literal physicality — the extra thick stretchers and larger size and the paint handling, which manages to be worked even when flat — and their composition, which bends vision into sci - fi space but also retains the power of the overall ground.

Like the artist himself, Goldberg's paintings continue to invite anyone interested to share the boundless passion their creator had for art and conversation.

The series continues the artist's exploration of the Hackney neighborhood of East London through the imagery of iconic paintings, referencing artists like Delacroix and Wyeth to describe the local myths, struggles and dreams of his local community.

Today the lineage of geometric abstraction is being continued by younger artists in all manner of ways, from the crisp paintings of Sarah Morris that combine Mondrian's compositional intricacy with vernacular touches to the colorful arrangements of talents like Mai Braun that pursue an obsession with color that Albers would recognize.

Although he saw Rauschenberg's Combines as a «preliminaries» to his own work and regarded their object - like dimensionality and inclusion of found objects as «radical,» Donald Judd could only see Rauschenberg's continued interest in painting as «conservative» and too closely tied to traditional representation.6 From Judd's perspective, Rauschenberg failed to understand fully the monochrome's pronouncement of the end of painting — an end that, when read in conjunction with Marcel Duchamp's readymade, authorized the move from painting to the three - dimensional realm of «Specific Objects.»

I liked the idea of dealing with self without the necessity of painting one's own likeness, and so I have continued to work on my studio painting series,» offers Kobaslija.

In her solo show at Half Gallery, Trudy Benson presents easel - size paintings that continue her riff on the digital imagery of early paint software like MacPaint, SuperPaint, and Painter.

Much like her paintings in the past two iterations of NDA, the artist's new series of geometric abstraction becomes even more architectural as she continues her study of visually defining «place», giving the viewer a sense of being able to walk into and inhabit the pictorial «space».

In her grid - like paintings, French - Syrian artist Farah Atassi continues to consider space through an exploration of decorative motifs and architectural models.

Like so many painters, Hodgkin felt liberated by the 1959 Tate show The New American Painting and by the impact of the scale and confidence of the abstract expressionists Barnett Newman and Jackson Pollock, though until the 1990s he continued to paint within a pre-abstract expressionist intimacy of format, and gained power from that containment.

Begun before 9/11, Undertones of War looks like nothing so much as the underpainting of a Frank Auerbach: a thin jumble of bad - tempered brushy scribbles on unprimed wood veneer, the painting continuing on to the rough pine frame.

More than forty years after its first appearance, Hyperrealism continues to fascinate the public, many of the group's pioneers are still painting and new artists often use techniques like slide projection and gridding when working.

Despite O'Doherty's debunking of this context, the white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to websites such as Contemporary Art Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop screen.

During the 1960s and 1970s artists as powerful and influential as Robert Motherwell, Adolph Gottlieb, Phillip Guston, Lee Krasner, Cy Twombly, Robert Rauschenberg, Jasper Johns, Richard Diebenkorn, Josef Albers, Elmer Bischoff, Agnes Martin, Al Held, Sam Francis, Ellsworth Kelly, Morris Louis, Helen Frankenthaler, Gene Davis, Frank Stella, Kenneth Noland, Joan Mitchell, Friedel Dzubas, and younger artists like Brice Marden, Robert Mangold, Sam Gilliam, John Hoyland, Sean Scully, Elizabeth Murray, Larry Poons, Walter Darby Bannard, Larry Zox, Ronnie Landfield, Ronald Davis, Dan Christensen, Joan Snyder, Ross Bleckner, Archie Rand, Richard Saba, Susan Crile, Mino Argento [29] and dozens of others continued to produce vital and influential paintings.

Many of these artists, like Susan Rothenberg and Julian Schnabel, would continue the practice through to the 21st century, making the Guston-esque play between abstraction and wonky depiction one of the few active threads of serious painting to survive today.

While institutions like the Museum of Modern Art, the Art Institute of Chicago and the Stedelijk Museum in Amsterdam have substantial holdings, the closing in 2014 of the Hallen für Neue Kunst, a contemporary museum in Schaffhausen, Switzerland, with the largest public display of Mr. Ryman's painting, leaves Dia as the only remaining site with an extensive permanent grouping, featuring works made as early as the late 1950s and continuing up to 2003.

Maintaining gestural painting's relevance in contemporary culture while also rooting its chief sources of inspiration from within the Western canon is a Herculean task, particularly as the very practice of painting as a discipline continues to erode within the art market, art schools, and public art institutions like museums.

Guston had a major retrospective of his work at the Guggenheim Museum in New York in 1962 and in 1967 he moved back to Woodstock permanently where he continued to make paintings incorporating his signature cartoon - like forms and figures.

Considering hands - on education, the price tag of a MFA from NYAA is hardly acceptable for the average human, but there is plenty offered in the few - hundred - buck range in the Continuing Ed department, like life painting and drawing.

From the psychedelically primordial My Forsaken Love, in which biomorphs traverse a black - fringed molten - pink ground, to the strata - like composition of Standing on the Riverbank of My Hometown I Shed Tears, a canvas filled with sedimentary layers of cell - like dots, eyes and extravagantly decorated lashes, the paintings generate new motifs and arrangements of forms while continuing a lifelong preoccupation with the mysteries of the physical and metaphysical, the tangible and ineffable - the space where seeing and feeling intersect.

Minimalists like Donald Judd, Dan Flavin, Carl Andre, Agnes Martin, John McCracken and others continued to produce their late modernist paintings and sculpture for the remainder of their careers.

In these paintings, McCarthy continues his career - long probing of what happens when human drives and desires meet archetypal American narratives like Snow White or the Western.

He continued, «I have never seen portraits painted like this.

In his intriguing series Refuge, Kevin Chin's new paintings are inspired by the global migrant crisis, the resurgence of political parties like One Nation and Reclaim Australia, the US election of Trump, and the continuing debate around nationalism, belonging and alienation.

Although Morris Louis participated in the Siqueiros Workshop, he nonetheless continued painting in a figurative style and using traditional mediums like gouache and oil paint for another decade.

An artist who, for more than 40 years, has expanded the canon of painting like no one else, and as this newspaper proves, he continues to do so now.

Bradford's paintings marked something of a departure for him — continuing to move steadily away from the grid - like mappings... Read More»

It occurs to me that your paintings are successive like a cursive script; gestures continue from one work into the next.

Her latest body of work continues her recent exploration of strategies like rectangular surfaces covered entirely with paint, constituting an image of a landscape.

With titles like Blue Moments, Bastard Blues, and Blues in C Sharp Minor (for Teddy Wilson)(all 2015), the artist delves into the meaning, both visual and audible, of the «blues» continuing her exploration into the intersections of sound, politics, history, and the practice of minimalist painting.

Briefly: Kanter, though he does not fling paint like Pollock, uses calligraphic black and white marks against the white, non-negative void; Sloane continues his Herculean examination of the darkest, densest fields of early de Kooning; Paulson, darker still, studies the lines between the figure, the landscape, and oblivion (Thompson) like disappearing tracks in the sand.

In the present show, Rauch continues this collage - like approach to his paintings.

Resisting visual gloss, I continue to make art with materials like paint, charcoal and chalk pastels, the usual stuff of «old art.»

The work rests like evidence of a foreshadowing, with Marlene Dumas's 1985 oil painting The White Disease right next to it, offering viewers further proof that, for reasons we pretend not to know, our self - made apocalypse continues its weary march through history: consuming some, stultifying and disfiguring others, and it won't rest until Stanley Cohen's social order has been sufficiently eradicated.

In the 1950s, while the NYC Abstract Expressionists approached painting like a theoretical chess game, often reducing their investigations to a single trope (Pollock — spatter, Rothko — Sfumato, etc.), painters in France continued to explore the possibilities, rather than the limitations, inherent in the medium.

«If I know what I'm doing, or if I know what the painting's going to look like,» she continued, «there's really no point in doing it.»