Sentences with phrase «paintings function like»

The artist's sparse and eloquent abstract paintings function like automatic writing, built up from individual elements on large expanses of raw, untreated canvas.

As units of meaning within a larger structure, the paintings function like words in a runon sentence.

The paintings function like environments of color whose construction, taller than wide, echoes our own.

Not exact matches

This desktop keyboard won't be traveling anywhere with you, but it's sure to impress in the office with its 113 OLED keys, which you can map and paint with any functions and images you like.

Paintings of bible scenes on church interiors functioned like a children's picture bible; they taught the scenes of biblical and church history.

And like the functioning of the body, that of words and paintings remains obscure to me.

Named FiroShield, the new coating is cheaper and less laborious to apply, and can function aesthetically like normal paint.

But deciphering a person's brain functioning with only six categories is like painting a portrait with only primary colors, Martinez said: it can provide an abstracted image of the person, but not a true - to - life one.

The top - of - the - line Crew Cab Platinum Reserve is distinguished by its premium leather - appointed seats with «Platinum Reserve» branding on the seat backs, «Platinum Reserve» exterior badging, heated steering wheel, chrome exhaust tailpipe finishers, 20x7.5 - inch dark chrome - like wheels, driver and passenger heated and cooled front seats, heated rear seats, Trailer Brake Controller, Trailer Light Check function, dark chrome tailgate finisher, two - tone painted front and rear fascia, two - tone paint on the body sides, two - tone painted over-fender molding, dark chrome outside door handles and outside mirrors, leather - wrapped steering wheel with a wood insert, premium open - pore wood instrument panel finishers with metallic «Platinum Reserve» badging, leather - wrapped shift knob with a dark - painted trim ring, and dark chrome - accented vent knobs and cup holder trim.

The top - of - the - line Platinum Reserve is distinguished by its premium leather - appointed seats with «Platinum Reserve» branding on the seat backs, «Platinum Reserve» exterior badging, heated steering wheel, chrome exhaust tailpipe finishers, 20x7.5 - inch dark chrome - like wheels, driver and passenger heated and cooled front seats, heated rear seats, Trailer Brake Controller, Trailer Light Check function, dark chrome tailgate finisher, two - tone painted front and rear fascia, two - tone paint on the body sides, two - tone painted over-fender molding, dark chrome outside door handles and outside mirrors, leather - wrapped steering wheel with a wood insert, premium open - pore wood instrument panel finishers with metallic «Platinum Reserve» badging, leather - wrapped shift knob with a dark - painted trim ring, and dark chrome - accented vent knobs and cup holder trim.

Built in 1872, patterned and painted in Islamic style, today it is more like a museum as it is not a functioning synagogue.

New main weapons include: Splat Dualies, dual - wielded sub-machine gun - style guns with two reticles that allow the player to perform dodge rolls with concentrated fire; Flingza Roller, an elongated paint roller capable of fast short range horizontal attacks as well as slow long range vertical attacks; Goo Tuber, which is similar to the Charger weapon but is able to hold a full charge for much longer, allowing players to get a better vantage point or sneak attack opportunity without having to charge the weapon again; Dapple Dualies, essentially an improved version of the Splat Dualies, allowing players to perform quicker dodge rolls at the cost of reduced range; Clash Blaster, which fires crayon - like objects in a short range, high speed manner similar to the Luna Blaster in the first game, but you must hit the opponent with multiple direct hits to splat them; and finally the Splat Brella, a shotgun - like weapon that also functions like a shield that can fly off the handle to provide mobile cover.

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.

Other big likes: Louise Bourgeois's cast bronzes and carved marbles; Franz West's lumpy, painted organic form - on - a stick; Antony Gormley's hanging metal sculpture, whose linear materials — and certainly its shadows — functioned as drawings in space.

Bacon: We were talking earlier today about how, since the whites in your work are not painted, by you at least, since the canvas comes to you from the manufacturer already primed with that white ground, and then you didn't paint the top, but you painted the bottom half, it functions almost literally like a bank, right?

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.

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.

Wood scraps from Cordy Ryman do and do not function like the nuts and bolts holding painting to the wall for Robert Ryman — and they are and are not painting.

In a way the paintings function almost like diaries so its sort of another register of diaristic practice that exists in both literature and painting.

The writer / critic Rene Ricard points out that the plates function like extensions of the brushstroke much in the same way the cotton balls do in Joe Zucker's 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.

Rauschenberg would subsequently explain his detachment from what he called «a whole language used in discussions of abstract expressionism that I could never make function for myself; it revolved around words like «tortured,» «struggle,» «pain»»; whereas he himself «could never see those qualities in paint.»

The pieces contained include new works from Jason's series of painted hardwood planks begun in 2008 and will debut an awe - inspiring, hanging mobile that functions like a fountain within the gallery.

The industrial slatwall functions like a minimalist painting — its built - in horizontals echoing the purity of Agnes Martin, while simultaneously being a readily available vehicle for product display.

The large painting draped gracefully from the ceiling, dwarfing the freight entrance below it and functioning like a net to capture and manipulate light and color.

This leads visitors back to a large charcoal drawing, «Untitled No. 18» from 1958, where you can see him sketching out vague shapes; then to several of his collages placed around the room; and finally to his paintings, which suddenly register as paintings sprung from collages, with their juxtaposed elements functioning, as Ms. de Kooning puts it, like «action caught at an impasse» to create «an art of interruption.»

While the move is less radical than routine (by now we've all seen paintings brought in to function as artifacts, arranged in concert with other art or art - like objects), it effectively releases Louis» work from its unimaginative role as illustration for Clement Greenberg, opening the work for new meanings.

His paintings function a little bit like museum period rooms or curiosity cabinets, placing young, male, and queer subjects in elaborately researched environments of aesthetic cultivation.

There was a whole language that I could never make function for myself in relationship to painting and that was attitudes like tortured, struggle, pain... but I never could see those qualities in paint.»

Like his abstract painting, Stella's architecture reverses one modernist credo, form follows function.

Similarly, his early assemblage paintings, which included functioning objects and gadgets, present shifting images that advance and retreat depending on the viewer's relative position, like stage sets that can be seen but not entered.

Gilad Efrat, who lays layers of thick oil paint only to engrave within it or the subtract from it, functions much like that ancient writer, who imprints marks by stakes onto a soft mortar plaque, hurrying to affix meaning onto the surface of the material before it will harden.

Like Juarez Paintings, Iarnród is composed of works that function as abstract landscapes — they are specific to their location, seeking to reveal something about their source.

A functioning ceramic fountain sits in the center of the gallery, atop a carpet - like grid of painted tiles.

Grotesque, comic - like characters are part of his understanding of the human being and how they function within the discourse of painting.

Anna Kunz makes works on paper, paintings, sculptures, installations and projects that seep out of the rectangle, often using painted and dyed fabrics that function like nets to capture and manipulate light and color.

Hornig extends the sentiment by mentioning to aqnb that the motif of a wild rose painted on a neon shimmering background «functions like a modern answer to our romantic need».

«Spéciale n ° 54 Hommage à Hopper» (2007) features a house with a nearby road sign for the Hopper Center — although no such institution exists, except in this painting, which functions, as does most of Mr. Monory's work, like a movie screen where fantastical drama and action are routinely played out.

The largest stretched painting in the room is what first confronts you as you enter the gallery, yet as you walk towards the center of the room to view the show in its entirety, the show title, functioning like bookends, is broken up between the two alcoves acting to hold us — the public situated in a public university in the capitol of the Land of Lincoln.

There was a whole language that I could never make function for myself in relationship to painting, and that was attitudes like tortured, struggle, pain.

Like Gate, these entrances are denied any function now fluctuating between sculptures and paintings.

Jeremy Blake (1971 - 2007) used digital media to create works that function on a flexible spectrum between being more painting - like or more film - like.

[xii] For example, in recent work shown in Berlin at Croy Nielsen by Sebastian Black the painting's literal dimensions function like a screen of sorts, as we find a single painted composition rotated across four canvases.

Instead, these new works function like allegories of painting.

Optically active, works like Geomorph 1504 (2016) and Geomorphology 1801 (2016) are visually seductive, yet they function more like design objects than paintings.

The paintings function in a similar way, their textural elements unfolding into the gallery space like sculpture or sound.

In each painting, whatever color forms the ground functions like a tonic note on which the other colors build.

This room, entitled White model for a big still life, consisting of various sculptural and architectural elements, blurs the lines between environment, architecture, painting and installation by creating a monochrome space that functions, in a sense, like the artist's own creative mindscape.

Like the whirling dervishes, for whom their twirling dance is one of the physical methods used to reach religious ecstasy, these paintings have a similar (though more secular) function.

I chose to make the art gallery function as if you were walking onto a stage set, where the paintings weren't real, they were props made to look like paintings.