Sentences with phrase «paintings out of the studio»

Guston said at this panel — I didn't understand it then, but I understand it more and more — he said, «What I want to do in the studio is to paint everybody out of the studio — the critics, the historians, other painters — and then I try to paint myself out of the studio.»

Abts only allows around half a dozen paintings out of her studio in a year, so although all ten in this exhibition are dated 2015 or 2016, do not be fooled.

Not exact matches

Later, I visited a lot of studios of fine art in Mainz, Frankfurt, and Berlin, but I found out that I could not learn in them the painting techniques in which I was (and still am) interested.

How perfect would this be for all of my paint brushes out in my design studio?

And Louise Nevelson, the grand dame of found - object collages all painted over with black latex, scavenged and lived and had her studio here until 1963 when she was kicked out to make way for an East German looking building.

Virtuos artists, out of our studio in Saigon Vietnam, Sparx *, were responsible for the modeling, texturing, layout, matte painting, animation, lighting and FX production to the final full color.

Virtuos artists, out of our studio in Saigon Vietnam, were responsible for modeling and texturing, layout, matte painting, animation, lighting and FX production through to final full color.

And then you back off and you think about it, or somebody comes in the studio and you talk about what you do and you conceptualize things that didn't necessarily come out of any clear plan... a field of vision depends on what's in your mind... what you really see is not just how you're painting or what it looks like.

The Jeep's trunk was his studio — every now and then, he would stop on the roadside «in the middle of nowhere,» get out, and make a painting.

Leading up to his two exhibitions later this autumn at David Zwirner's gallery spaces in London (October 5 — November 17) and New York (November 1 — December 19), I discussed with Tuymans a number of subjects that come out of his two new bodies of work, including the questions they raise around the romanticized life of artists, the recurring issue of otherness in his work, and how a talking parrot in a charmingly ramshackle tapas bar close to his studio inspired the title for a series of new paintings.

Even though today the term zip can't help but connote the idea of speed, Newman was clearly on the side of slow art, with a rare, deliberate, and carefully pondered production of only 118 paintings over 25 years, versus the thousands of paintings that have poured out of Stella's studios.

A painting can easily sit for a couple of months to a year in the studio before it is once again taken out and recommenced.

Keltie Ferris's paintings are inspired by subjects that range from the broken up pixelation of digital images, rubbed out graffiti on New York streets to the glimmering city lights that are visible from her Brooklyn studio at night.

He invited them up to New York in 1953, I think it was, to Helen's studio to see a painting that she had just done called Mountains and Sea, a very, very beautiful painting, which was in a sense, out of Pollock and out of Gorky.

Were you entirely exhausted after last year's — running in and out of every single studio, opening door after door until you felt like you were in an M.C. Escher painting?

He then used paint pouring as one of several techniques on canvases, such as «Male and Female» and «Composition with Pouring I.» After his move to Springs, he began painting with his canvases laid out on the studio floor, and he developed what was later called his «drip» technique, turning to synthetic resin - based paints called alkyd enamels, which, at that time, was a novel medium.

You want to talk about art, look at Mark Grotjahn making $ 50 to $ 70 million a year, selling paintings directly out of the studio for $ 10 million.

In his Mumbai studio, heaving himself up out of his wheelchair, he worked on six large paintings for another show, Painting India, which will open in June at the Hepworth Wakefield.

So the sculptures developed out of this fear — if I was in the studio and didn't feel like painting, making sculptures seemed like an obvious step.

We sit close to the paint - streaked working sheets that coat the floor of his studio as his assistants bring out each canvas and Iranna tells the story behind it.

Mr. Strick, director of the Nasher, said what strikes him about Mr. Grotjahn right now is «his amazing productivity,» as he works on several new paintings and sculptures spread out over two studios.

Starting out with vast sheets of pure colour in huge trays on his studio floor, his finished works are something between painting and sculpture, a joyous celebration of colour and material.

As patrons of emerging artists, Michael and Susan Hort don't wait for museums to ratify the talents they support before buying a painting (or four)-- they put in the legwork of curators themselves, shuttling out to industrial neighborhoods to inspect the still - wet work of up - and - coming artists in their studios.

I have bronzes out in the studio right now that I'm painting and I'll pull a colour that I'm particularly excited about and apply it to a bronze and it's not like, then I staple a bronze to a canvas, but I make drawings of the bronzes, too, so it's like self - cannibalism.

«We got it right out of her studio,» Panetta says of this recent painting, a moodily surreal view of one of the artist's favorite neighborhood haunts (the Achilles Heel bar, in Greenpoint).

I do miss it, but I'm also figuring out how to incorporate observation, such as when I'm painting in my studio and I see a flood light that gives me an idea of a kind of mark I want to make or I just layer stuff that I perceive in different spaces into a single painting.

If the black - and - white photographs make the thought of all of those incandescent colour combinations, fresh out of the studio, feel all the more tantalising, then it has to be said that a white room full of paintings looks pretty much as you'd expect it to.

Additional first - time exhibitors at Art Basel in Miami Beach who will feature artists from Latin America in Survey include Galeria Jaqueline Martins, with an exhibition devoted to Letícia Parente (b. 1930, d. 1991), a pioneer of Brazilian video art, and Ricardo Camargo Galeria, who will transform its booth into the studio of Brazilian painter Wesley Duke Lee (b. 1931, d. 2010), encompassing paintings, collages and a sculpture created out of assembled objects.

Anecdotal accounts describe the influence Richter's burgeoning friendship with Blinky Palermo had on the creation of the Colour Charts, as Palermo would visit the artist's studio and — without any visual knowledge of the painting — arbitrarily call out the names of the sample colour cards, which Richter would then incorporate into the work.

I journeyed to Isca» East Village studio to look over the football series the day before they shipped out to points West, and the first thing I said was, «These remind me of Degas» horse racing paintings.»

Today I clean the studio and work out the palettes for the next couple of paintings.

The purpose of the conversation that took place over email was to further explore how these influences shape what the viewer sees, and to suss out to what capacity his studio practice informs the paintings.

Sixteen Windows looks out onto a silver sky, while another shrine pays tribute to her studio, with two tubes of paint.

In contrast to many of his contemporaries who were moving out of the studio and away from painting, Quaytman remained committed to working on canvas and to pushing the modernist idiom in a new direction with monumental shaped canvases that demonstrated his unique vision and style.

Color in her paintings — from smudged whites and grays to earthen browns and blacks — seeps out from the floorboards and brick walls of the old carriage house that has been her studio for many years.

Robert Storr is a painter who supported himself by sheetrocking, carpentry, and house painting, along with occasional art writing, when in 1990, with only an MFA in studio art, Storr was picked out of the chorus line by the newly appointed Kirk Varnedoe, Chief Curator of Painting and Sculpture at The Museum of Modern Art in New York, to be a curator in that same deppainting, along with occasional art writing, when in 1990, with only an MFA in studio art, Storr was picked out of the chorus line by the newly appointed Kirk Varnedoe, Chief Curator of Painting and Sculpture at The Museum of Modern Art in New York, to be a curator in that same depPainting and Sculpture at The Museum of Modern Art in New York, to be a curator in that same department.

Helyn Goldenberg of Sotheby's Chicago led a live auction that included experiences such as a one - on - one outing and original painting by artist Amanda Williams; a cocktail party for ten at the Stony Island Arts Bank; and a weekend art excursion to Michigan that included a tour of Judy Ledgerwood and Tony Tasset's new home and studio.

The sheer size of the studio and double height of the walls allowed him to come out of the gate with huge paintings, some as large as ten feet long by six to eight feet high.

Mr. de Looper, who worked out of a studio in his home at the St. Regis Apartments on California Street NW, painted large, often colorful works that were, in essence, experiments in color, form and texture.

When that neighbor turned out to be Jasper Johns, Castelli — who had been already intrigued by the artist after seeing one of his green target paintings at the Jewish Museum — was staggered by the paintings of maps and targets on view in his studio and immediately asked him to show at his gallery.

Her initial representational painting would be done from life, out in the open air, then she would take the canvas home to her studio and work over it so that it took on an emotional resonance — something she described as: «that memory or dream thing I do that for me comes nearer reality than my objective kind of work».6 She painted on canvas with a very fine weave and coated it with a special primer to make the surface extremely smooth, blending one colour into the next, making sure that the brushstrokes were invisible.

Before coming to the studio school, I had been out of college for some years, working in New York and painting independently in my apartment.

Because what I did miss here, as I do at all of the closely curated fairs, is the direct communion between artist and viewer best expressed as «simple gesture» — the artwork equivalent of that offered by Henri Rousseau, who invited a few artists to his studio, and laid out one of his paintings on the floor for them to walk on because he had no carpet.

«One of the goals behind Vitality and Verve is to spotlight artists who are stepping out of their studios to paint on a grand scale using outdoor walls as their canvas as well as urban artists who are beginning to work in a traditional studio setting.»

Notably, 1953 was also a pivotal year for de Kooning, who finally found staunch critical support and solid financial success following the exhibition of paintings and drawings from his Woman series at the Janis Gallery that spring.22 By then, Rauschenberg had known de Kooning for a year or more and had seen him on occasion, often through their mutual friend Jack Tworkov (1900 — 1982), who sublet studio space from de Kooning.23 Even as other details of the Erased de Kooning Drawing story changed, Rauschenberg always insisted that he chose de Kooning out of deep respect for his work and because there was no question that a drawing of his would be considered art — and this was more true than ever in 1953.24 Critic Leo Steinberg later reported asking Rauschenberg whether he would have erased a drawing by Rembrandt, to which he replied no.

This show frames the terms of a debate about painting carried out 30 years ago in Soho's, galleries, studios and bars.

Lately, after years of painting abstractly in NYC, I was moved to scratch out ideas on paper again... motivated by way too much coffee, and being up way too early (5:00) to hit the studio at a civilized time.

What / Why: Lisa's studio is like a living classroom, in addition to being a place she calls «home», the artist also teaches painting lessons out of her gorgeous space.

Other technical elements defining the Berlin series include painting on linen, naming the paintings right after completion to give them an authenticity to the moment and connection to my studio writing, and blocking out the background into color quadrants to help create a sense of depth.

THE STUDIO MUSEUM in Harlem recently explored the intersection of food and art in an exhibition featuring, «Untitled (Dinners)» by Carris Adams, a text painting that transitions from bold black lettering to a muted pink and yellow palette spelling out «Chitterlings & Oxtails Dinners.»