Sentences with phrase «paintings showing action»

[94] Also rare among his themes are paintings showing action.

Not exact matches

That is why a lot of Arsenal fans are so upset right now and why we wanted some serious transfer action after the shaky start, but Granit Xhaka has offered a different take on the early stages of the new season, reports Metro, suggesting that apart from the below par showing against Liverpool at Anfield, the Gunners have not been as bad as painted.

Also, to Ms. Taymor's credit, she intelligently provides at times inspired touches such as — stop motion action shots, color tinting in brightly exotic desert shades, finely textured black - and - white sequences, shots of Diego in New York to do the Rockefeller commissioned mural against a lively Dadaist collage of the New York setting, Frida's dream of her hubby as King Kong, a puppet show in the hospital (with the help of the gifted Quay brothers animations of skeletons in the post-accident emergency room — the skeletons were copied from one of Frida's paintings).

Finally, we get «Action Is Art: A Study of Ushio Shinohara's Boxing Painting» (3:39), a short that presents the artist's boxing glove methods, taken outside and applied to glass showing Manhattan skyline behind it, in highly artistic super slow motion.

The staff at Airbrush Action did comprehensive photo pieces on the paint jobs and artwork of the cars displayed at the SEMA Show, informing their readers of color trends and ideas presented by exhibitors.

DLC content for GoW3 was minimal and framerate is important to me (especially in an action game), so I'm going to wait for it to show up on PS + before I check out the new coat of paint.

This first trailer doesn't show any gameplay, but the mix of CGI and live action does paint a foreboding picture for the latest adventure.

Kate Menard reviewed the Hermann Nitsch show on ArteFuse, 75th Painting Action is dominated by red, but it is oil, not blood, which covers its canvases.

In the press release for the Fort Tilden show, MoMAPS1 suggested that Grosse's ambition was to «extend the scope of her painting beyond the borders of the canvas» and declared that her installation projects «evoke the physicality of action painting and earthworks through their gestures and monumentality.»

They insisted on the priority of experiment in painting, print, and performance, with new materials, periodicals, «street action,» and light shows.

The «gesture» in the show's title is shorthand for the term Action Painting, coined by Rosenberg to describe the calligraphic brushstrokes — and, by extension, the existential angst — of AbEx's embryonic phase in the early 1940s.

While he taught her the spontaneity that came with «action painting,» she showed him how to focus that freedom into a disciplined and potent composition.

Kate Menard reviewed the Hermann Nitsch show on ArteFuse, 75th Painting Action is dominated by r...

Their profound simplicity resonated in a city enthralled by abstract expressionism and action painting, and in October 1959 she secured her first solo show in at the Brata Gallery, barely a year after she had first set foot in the city.

Monitors show the performance artist in action — and I do not mean action painting.

Steps from the Van Doren show is the magisterial Frick Collection, where «Andrea del Sarto: The Renaissance Workshop in Action» is devoted to drawings and three paintings by Andrea d'Agnolo (1486 — 1530), known as del Sarto because his father was a tailor (sarto).

Another film, Floues et colorées (2010), shows the application of Cornaro's spray paint in action.

Always half showman, half recluse, Byars» announcement for a show in Amsterdam in 1975 invited the public to watch for «flash showings» of his paintings in «quiet places out in the city landscape» — situations consisting not of canvases (of which Byars only ever made one) but of actions where the artist dressed in a golden suit and held up a long gilt pole.

She appeared in a show of conceptual art in Harlem, with a wine stain, but her primary reference point is still «action painting.»

Echoes of his sculptures from this period — those that, like his letters, were formed into three dimensions from many sheets of paper — show up in Serra's painting - infused sculptural actions of the late 1960s.

«Martin Kippenberger was a fan; Paul McCarthy collects her paintings and has contributed an essay to the catalogue for this show, a text purposely disjointed and ripe with images of amputations, bodies turned inside out and impossible actions: «The finger goes in the mouth up through the nostril cavity and out the eye - socket... your arm is over here, your head is on the shelf, and your torso is on the chair.»»

Having just returned from abroad and immersed himself in the New York art scene, he found himself in a cauldron of ideas about action, process, concept, and nothingness, navigating an artistic landscape that was being redefined through influences such as Cage's intellectual Zen advances, Rosenberg's painting as an action, the Janis Gallery Dada show, and the Stable Gallery exhibition of his very own White Paintings.

Absent the Postwar malaise, Existentialist angst, and Surrealist bent that shaped the cultural context of Action Painting for the New York School, the uniquely American reference of landscape in Abstract Expressionism is perhaps more visible on the West Coast, especially in the work of Jack Jefferson, Frank Lobdell, and Charles Strong, the artists most heavily represented in the show.

Entitled A concert of purpose and action, the show includes bold, new paintings that explore the boundaries of social order against the backdrop of anarchic disorder.

Far from a rosy reimagining of America's pastimes, however, the show explores how Rockwell used these four 1943 paintings — which also include Freedom of Speech, Freedom of Worship, and Freedom from Fear — provided a call to action in response to President Roosevelt's public entreaty to defend liberty and equality across the globe in the face of World War.

The gallery presents two solo shows of action paintings by Christopher Deeton and Haim Mizrahi.

1955 Action I: Concert Hall Workshop Presents Action Paintings of the West Coast (Merry - Go - Round Show), Santa Monica Pier, Los Angeles Groups, Los Angeles, CA Second Annual Group, The Six Gallery, San Francisco, CA

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

He was no «action painter,» but meticulously prepared for his major paintings in suites of detailed drawings, many of which are in the show.

A camera positioned surveillance - style shows the artists engaged in a series of preparatory and exhaustive actions: spilling Yves Klein bluish paint on the floor to reveal the reflection of overhead lights, holding a box in the corner and letting it fall to the ground, and lassoing a bucket of tennis balls.

From his earliest shows in New York, critics placed Twombly in reach of Pollock's all - American, muscular «action painting,» wedding the two in a historical dialogue.

Stella may have set an example for Ryman by insisting that all the action in a painting, including the interplay of materials, must show itself for what it is.

The exhibition not only shows Saint Phalle's numerous shooting paintings — considered scandalous at the time — but also footage of her in action, standing before her canvases where she would plaster on small pots and bags of paint and then shoot at them mercilessly with a shotgun till they bled paint.

The effect is similar to Donegan's treatment of action painting: she shows us how naïve viewers can be, how self - important artists can be.

Fluids, fictional innards and flesh, and paint are used to enhance the painterly gesture that is transformed into a performative action: each canvas on show is the result of an action, capturing and conveying Nitsch's mystical art philosophy through extreme materiality.

The exhibition travelled to London's Victoria Miro after opening at David Zwirner in New York, and some of the most extraordinary paintings on show were those of men of physical and political action, in moments of calm.

History paintings almost always contain a number of figures, often a large number, and normally show some type of action that is a moment in a narrative.

Highly influential, one 1961 show, ZERO: Edition, Exposition, Demonstration, held both inside and outside Galerie Schmela in Düsseldorf, in which performers marked out a «Zero zone» with white paint around other participants, blew bubbles and launched a balloon into the night sky was witnessed by artist Joseph Beuys — who had his first one man show that year and started to give action - performances in 1963 — and Nam Juin Paik, Korean founder of video art.

In a time of flat paintings — mostly I'm referring to those that lack perspective, as if all that's shown on the canvas has been pressed up close to your eyes — I appreciate that the next course of action might be a transition from pure flatness to a somewhat flat, though highly layered space.

His first solo show in New York, Leisure Studies, pushes beyond the aristocratic tableaux of Dixon's earlier paintings to depict pure action.

The academy is about to launch the first major exhibition in the UK of the painter whose best known work shows a tailor in action, gathering together rare loans including his late religious paintings and altarpieces that have never left Italy before, and one portrait only identified as his work last year by the curators of this show.

It is an exercise in filling up time with actions I was told on several occasions that filling up time with activities could make a person feel good Repetitive activities like painting houses or paintings is good for brain chemistry For creating serotonin There will be repetitive round aspects to the art in exhibit Round energy is real What you do makes who you are some say Makes what is some say I have been pondering a version of some of the elements of this show (piece for quite some time) All the work I have done in my life formulates to make this happen

H. Hurst, «Fortuitous Painting, Between Plan and Action», Hyperallergic, 20 October S.Indrisek, «5 Must - See Gallery Shows», ARTINFO, 2 October J. Panero, «Gallery Chronicle» The New Criterion, October A. Cunat, «Amy Feldman», EUTOPIA, 3 Oct..

Claire Sherman's current show, «Funeral Mountain» blends Romantic - era geological drama with mid-century action painting, modernizing it by default in the process.

During a walkthrough the show, he mentioned AbEx greats Franz Kline (brushy, hands - on) and Jackson Pollock (drizzly, hands - off) practically in the same breath — and elements of both recur here, like the wide - brush action on Date, and substitute dripped paint for spray - paint like in Autocorrect, two ways of recording the artist's «hand» and progress.

«The Panel believes that the evidence presented showed by clear and convincing evidence that there was a scheme, an ill conceived plan to get together with a friend, sell paintings to each other, make claims against Pay Pal and then pursue legal action to recover not only the Money Back Guarantee, but treble damages and attorney's fees.»