Sentences with phrase «paintings in a space like»

«It is about combining single paintings in a space like there are single words in a sentence, and finally a story.»

Not exact matches

The space blares the communal message in quotes like «Embrace chaos» and «Be bold» painted onto pillars scattered throughout.

When we think of entrepreneurs deciding to go to space, like Branson, Musk, and Bezos, or take on malaria like Bill Gates, are we not seeing people expressing themselves with freedom like Monet in his later years, when he had the freedom to paint anything he wanted?

I've also bought a 3/4 ″ thick solid wood board like you can see in these photos and these and I basically followed the same painting technique as with the others.I like making them larger because it allows more space for photos at different angles, so they aren't exactly a breeze to move around, but it's not a biggie.

He is not envisioning the type of «huge wheel in - space construction» that may leap to mind when thinking about artificial gravity — like the one in the iconic Chesley Bonestell painting or the movie 2001: A Space Odyspace construction» that may leap to mind when thinking about artificial gravity — like the one in the iconic Chesley Bonestell painting or the movie 2001: A Space OdySpace Odyssey.

Okay, the fact that it is sprayed on historic brick isn't so wonderful, so don't go doing that, but you can make graffiti art in your own space by painting on stretched or non-stretched canvas, plywood, or any large piece of discarded construction material like plasterboard, or mdf.

Hello if thereis any business man or any body who like to design his / her home and fashion dresses and paintings for particular space then please contact me at my address [email protected] I am here because I have keen interest and talent in these fields and I want to do something on my own efforts that's why I am posting my comments on match.com because I really really need it.

The new armour progression system will allow you to create super-powered suites of skills that feel game - breaking compared to the limits Low Rank let you believe were actually real - you saw the sky, but Monster Hunter saw a painted ceiling, as it laughed at you from its glistening tower in space like a mad - faced Bond villain - but you'll have to grind like crazy to acquire the perks you need.

Rather, they put serious time in, stretching out, like Obama - iconographer Shepard Fairey, across the floor of a Kinko's with elaborate cutouts, or painting, square by square, pixilated space invaders to be glued onto innocent facades.

I guess that's one of the things that makes them different from photographs, in that a photograph might be a record, a snap, one moment — a painting I think is about creating a small world around that photo... I really like that idea of something that you can enter like a box or an exhibition space, and enter these little rooms which for me are memories, but it's not about nostalgia — it's more about setting up something that's still living — so it's almost they're all in the present, rather than in the past.»

A small painting like that of Thomas Doughty showed grandeur of mountain peaks, the fear in the blasted tree, the smallness of the human floating within this space and light.»

Secondly, I would like to propose what I think is a fresh, if not in fact entirely new, way of looking at the lines, forms and spaces of the classic drip paintings.»

Limitations in some templates; too much wasted white space (would love my work to be displayed much larger); integration of pages to sell prints and / or products with my work on it in pages with the original artwork (lower priced or alternative options for folks who aren't yet ready to invest in fine art); room setting view where customers can see the size / shape of a painting / print in an actual room like over a couch or bed, in a kitchen, etc; greater options in template layout (social buttons and email NL signup at top of page, etc).

Although predominately a painter, I have recently expanded my art into video and animation, «In effect I have always thought of my work cinematically, I set the stage and then fill it with props and actors so with video it feels like I'm still painting, just in time and space.&raquIn effect I have always thought of my work cinematically, I set the stage and then fill it with props and actors so with video it feels like I'm still painting, just in time and space.&raquin time and space.»

I've never seen anyone who knows how to make paintings tell a story in space like her.

Don't feel like you have to fill in every space on the painting surface.

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.

The large, partially obscured, mallet - like shape on the left is embedded in the paint, while the tiny ones appear eager to be swallowed up by the deep space of the dark wall they are rushing toward.

In other works, like Jennifer Bartlett's Swimming Pool (Early 1970s), the grid (silkscreened onto the ground of the steel plate) intrinsically spaces and allocates the site in which she paints her dots as a kind of means to an enIn other works, like Jennifer Bartlett's Swimming Pool (Early 1970s), the grid (silkscreened onto the ground of the steel plate) intrinsically spaces and allocates the site in which she paints her dots as a kind of means to an enin which she paints her dots as a kind of means to an end.

Building on Artists Space's history as an institution whose program has increasingly emphasized community participation and political organization (see last year's Decolonize This Place, which turned the gallery into a weekly activist meeting hub), Coop Fund foregoes traditional media like painting or sculpture in favor of video, art - science hybrids, updated junk sculpture, and institutional critique, making an implicit statement about these media that, for their associations with high - modernist seriousness, are appropriate to a politically engaged exhibition.

Earlier on, I was separating those two ideas in my mind and in this new dialogue with the work and coupled with the contemporary moment where I feel like my body is forcibly reinscribed back into the paintings; it just had to claim that space.

Like any master, the 88 - year - old artist developed a signature style with paint - collapsed space; flattened, abridged subjects; bright, antic colors — that is immediately identifiable as a Katz and yet also manages to exist in some reality outside of time or trends.

The forms she paints inhabit a shallow, cubist - like space, if I have the chronology correct many of the later works are larger in size.

His current solo exhibition at the South London Gallery, Michael Armitage: The Chapel, absorbs the chapel - like qualities of the gallery space, where his paintings explore Kenyan culture and religion as the context in which to look at mental health issues in East Africa.

In his interiors, an overhead light can look like a shower and a painting like a window onto outer space.

In a good painting, our attention is guided by principles very much like the rhythm, melody and spacing in musiIn a good painting, our attention is guided by principles very much like the rhythm, melody and spacing in musiin music.

While other artists like Richard Tuttle and William T. Wiley were also experimenting with the unstreched canvas during the same period, Gilliam's sculptural approach was revolutionary in that it repositioned the viewer's relationship with the painting to include the object as well as the space around it, blurring the boundary between painting, sculpture, and architecture for the first time.

There is a well - worn narrative of twentieth century painting that goes like this: From Cezanne to Picasso to Pollock, the illusionistic space of painting flattened more and more until the picture plane and the surface created by the paint itself became the primary subject matter, eliminating images altogether in favor of abstraction.

He strives to imbue his paintings with two directives: Create compositions with meaningful intersections of objects within space and capture the essence of what it's like to be in the moment when no one is watching.

The architectural space becomes an introspective and projective space, silent and welcoming, suitable for meditation: but Stingel's work alters our visual and spatial perception of it, suggesting a new, rarified and suspenseful atmosphere in which the silver, white and black of the paintings stands out like so many other «openings» on Venice, in an another dimension.

He makes paintings by going to public spaces around L.A., like the beach or the Americana mall, and quickly sketching what he sees there — tanners lounging in swimwear, dog - walkers, picknickers, etc. — on an iPad, then goes back to his studio and simply paints these scenes on canvas in acrylic, airbrush, and oil sticks that he melts on his stovetop.

Every single one has extraordinary color: the variety and brightness each piece carries, detail: the amount of work that is put into every aspect of each painting that make it look so realistic and abstract, lighting: the bright light shining throughout each image giving each piece an intriguing positive / enthusiastic energy, shading: the detailed shadings on each face giving them that 3 - dimensional look, definition: the quality of the defined lines that are portrayed through every painting (piece) and every small detail in the painting (like the faces and body parts) line: the complex and balanced lining that is seen in both, the abstract and realistic images in these works, texture: somewhat giving off an appealing texture to the works by the dimensions, as if you can reach out and grab the images, dimension: the realistic look that each women has (3 - dimensional), spacing: the space is used wisely in each work, very nicely spread out adding to its originality, touch: the clear and powerful finishing touch that every piece has, and the most visible that is seen in every piece here, is simply life.

Algus has earned a certain cachet mounting gently revisionist shows of left - out artists like Paul Feeley, Nicholas Krushenick, and Robert Stanley; here you see Semmel's paintings the way you might have seen them back in» 78, in an intimate space on the fringes of SoHo.

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.

With specimens from Hantaï's painterly «Mariale» series (1960 - 62) to the almost Matisse - like «Meuns» (1967 - 8) and the frenetic «Études» (1968 - 1971), where the negative space forms take on a wing - like nature, the Mnuchin Gallery succinctly paints a portrait of Hantaï's dramatic evolution in a short span of time.

This kind of presentation is a little much for the small work currently on display; it makes their show of Jean - Frédéric Schnyder's landscape paintings Landschaft (Landscape) I - XXXV (through February 26) look like postage stamps in a space capsule.

In her compositions Jebavy often includes glassware forms that call to mind other Baroque artworks, such as Bernini's expansive Baldachin in St. Peter's Cathedral, or illusionistic Italian ceiling paintings and cathedrals, building altar - like architectural spaces that are at once intimate, domestic, and banal, and monumental, metaphysical, and transcendentaIn her compositions Jebavy often includes glassware forms that call to mind other Baroque artworks, such as Bernini's expansive Baldachin in St. Peter's Cathedral, or illusionistic Italian ceiling paintings and cathedrals, building altar - like architectural spaces that are at once intimate, domestic, and banal, and monumental, metaphysical, and transcendentain St. Peter's Cathedral, or illusionistic Italian ceiling paintings and cathedrals, building altar - like architectural spaces that are at once intimate, domestic, and banal, and monumental, metaphysical, and transcendental.

These drawings and paintings form only a small part of Mammen's oeuvre, however, with her later work expanding to include sculpture — clearly influenced by the likes of Henry Moore, with an interest in the permeation of mass and space — and various styles of abstract painting, incorporating both a Picasso-esque period and a later phase of collage and childlike strokes, calling to mind the likes of Paul Klee and Joan Miró.

His recent works simultaneously employ his signature cartoon - like drawing style and investigate formal implications in abstract painting with psychedelic and often absurd space and color.

Dana Miller, the show's curator, describes the effect as being less like paint on canvas than «like cuts in space,» an innovation Ms. Herrera shares with painters like Frank Stella and Ellsworth Kelly (though they became famous for their versions 40 years before hers began to enter important public collections).

When I began the portraits, alchemical interpretations of 15th — 17th century portrait paintings, I realized I wasn't developing passages toward a visually penetrable space in painting, but building an object, more like a sculpture.

The son of a furniture dealer who included fun workaday objects like buoys along with his more conventional wares, Bourque - LaFrance roots his paintings in a similar context of quirky domestic space, and his pieces — among the most easily salable entrants at Sunday, at $ 6,000 to $ 9,000 — were very popular at the fair.

Among others, Stacy Leigh's deeply strange nudes at Fortnight Gallery; Nicholas Cueva's mysterious paintings at the Brooklyn community space Five Myles; Louis Fratino's weird realism at Thierry Goldberg; Jordan Casteel at Casey Kaplan; Maryam Hoseini's complex illuminated manuscript - like paintings at Rachel Uffner; Nina Chanel Abney's grand combinations of Stuart Davis and Jacob Lawrence, at Mary Boone and Jack Shainman (who's become one of the better galleries in the world); Marcia Marcus's prescient 1970s paintings at Eric Firestone; the teeny storefront 56 Henry mounted consecutive excellent shows of Cynthia Talmadge, Richard Tinkler, and Kate Shepherd; personal perennial faves shone, including Cary Leibowitz, Lisa Beck, Mira Schor, Keith Mayerson, Julian Lethbridge, Betty Tompkins, Jack Pierson, Ken Tisa, Tabboo, and Ashley Bickerton.

I'm into headphones and doing my own thing that will live in the space without me present, like a painting,» Jones said.

The exhibition title Procession refers to how the artist's paintings reference a dual meaning for how groups of people move through space: either in the spirit of play and feasting like in Carnival, or within a darker place occupied by the Ku Klux Klan and their nighttime rallies that punctuate the darkness with hoods and fire.

For his new video installation in Tank Shanghai Project Space, Saunders returns to his interest in the lyrical vocabulary of movement and camera in wuxia directors like King Hu, placed into relationship to painting and installed dynamically throughout the exhibition sSpace, Saunders returns to his interest in the lyrical vocabulary of movement and camera in wuxia directors like King Hu, placed into relationship to painting and installed dynamically throughout the exhibition spacespace.

Other notable exhibitions include the 2004 Whitney Biennial, New York; Ideal Worlds: New Romanticism in Contemporary Art, Schirn Kunsthalle, Frankfurt; Triumph of Painting: Part Three, Saatchi Gallery, London; Like Color in Pictures, Aspen Art Museum; and Humid, The Moore Space, Miami.

«In general, we are able to sustain our trademark of changing this space, partially by the materials we find at MFTA... some obvious like monitors and slide projectors and mannequins, some more hidden like paints, fabrics, odds and ends.

These paintings, with titles that refer to inspirational affirmations (It's not going to happen like that, Devotion, Determination, Perseverance and Potential) are suspended between an analytical depiction of reality and a dreamlike dimension, between autobiography and imagination, with her own personal style and narrative, in which the attention to time and space is central, evoking at the same time an affinity between life and painting, both imbued with intention and with mystery.

His twenty - eight paintings in Chelsea, like his appearance at the 2018 art fairs, start with his latest — in part to give the largest and squarest early paintings enough space in back.