Sentences with phrase «paints the collaged images»

David Ratcliff's process is always appropriative: he gathers visuals (often drawings or texts) from a wide variety of media, constructs large hand - made stencils and then spray - paints the collaged images onto canvases.

The Los Angeles - based artist has produced these works by appropriating and stenciling visuals (predominantly drawings) from a wide variety of media — zines, newspapers, diagrams, comic strips, historical documents — and spray - painting the collaged images onto canvases.

Not exact matches

Unlike most other collage artists that incorporate other's images, I have given myself the personal challenge of using only my own photographs, paintings, and drawings in my works.

The last two rooms are hung with Johnson's magnificent collage paintings presenting found images of Africa, including tribal masks, lush jungles, majestic palms, and idyllic beaches.

When «Radical Presence» opened at the Contemporary Arts Museum, Houston, last year, it also included five works from Piper's 1975 series I am the Locus, collaged and painted Polaroids on which images of Piper as the Mythic Being are inserted into scenes of a crowded street.

In the 1980s David Salle's achingly cold paintings of layered and collaged images helped define postmodern sensibilities.

Born in Nigeria, Crosby's collage paintings explore domestic spaces and social relationships, presenting rarely depicted images of everyday, contemporary life in Africa.

Like David Hockney and his flat, large - scale collages of Polaroid prints, Wood takes multi-angle photographs of his subjects and then cuts and pastes the images together to produce his fractured paintings.

The exhibition will include collage, drawing, painting, digital images, and constructions in a variety of materials.

Thomas Dane Gallery presents an exhibition of new works by Venezuelan - born artist Arturo Herrera, whose practice combines found images and objects with drawing, collage, sculpture and paint.

The Image as Burden brings together a staggering number of works: nearly two hundred paintings, drawings, and collages.

Whether appropriated by some contemporary figurative painters or aligned with some sort of new figuration, where the painters «find everything to be a matter of images» (to quote Barry Schwabsky from the online catalogue for «A New Subjectivity»), Abstraction clearly and demonstratively engages with the problems of painting (and collage and sculpture) despite the surprising conservatism of Kerry James Marshall.

The perimeter displays Thomas's collages and photographs from the past 15 years, mostly images, like her paintings, of ultra-feminized black women lounging in sumptuous, textile - strewn interiors.

Included are a selection of paintings, the series of etchings Recurrent Goya, based on Goya's Caprichos, as well as examples of the Chagoya's Illegal Alien codexes, derived from Pre-Columbian books and featuring painted, drawn, and collaged images.

Like a sieve moving through every moment of every day, Barbara Campbell Thomas's paintings siphon the onslaught of words, text and images, sounds, textures and physical stuff into piecemeal orderings of stacked lines, quasi-geometric forms and blippy brush marks — all in concert with collaged pieces of thrifted fabric.

Multimedia artist Sara Magenheimer's Open Mic Solo blends the photographic frame within the structure of a painting, creating a collage - like circuit of images within an image.

For a 2014 exhibition at the Albertina, the late, precocious Austrian artist Gunter Damisch shipped a stack of precut wood panels from Vienna to Paris, leaving the Woolworth studio team to compose the final images as they pleased in a mix of collage, monotype, woodcut, drawing and painting.

In this exhibition Corbett vs. Dempsey presents a group of brand new paintings, including images of Groucho Marx and South Park Kenny, as well as a startling new batch of painting collages, a new facet of her oeuvre.

Highlights of the exhibition include Stark's pre-YouTube Cat Videos (1999 — 2002); the playful, provocative and psychedelic «chorus girl» collages from the series A Torment of Follies (2008); My Best Thing (2011), a video that debuted at the 2011 Venice Biennale edited from Stark's cyber exchanges with two online paramours; the celebrated video installation Bobby Jesus's Alma Mater b / w Reading the Book of David and / or Paying Attention Is Free (2013), set to a West Coast gangsta rap soundtrack and featuring images that range from Renaissance paintings, to family snapshots, to portraits of hip hop legends.

but the paintings and collage - like images themselves, compositionally reminiscent of Rauschenberg's «combines,» are ultimately the most compelling.

The scope of Michael Meads» work is large, and wandering from room to room in «Bent Not Broken» at the Ogden Museum of Southern Art, his range of mediums and forms is awe - inspiring: acrylic paintings, charcoal drawings, papier - mâché masks, screen - printed images overlaid on gessoed wood panels, vivid sculptural triptychs, a small bound book of collages.

In this present exhibition, Ventura collages and hand - paints over every image.

Working across various media — including drawing, painting, collage, printmaking, sculpture, architecture and industrial design — Frezza and Chiao craft images, objects and spaces that question our experience of the lived environment.

I KILLED KENNY also debuts a series of paint - splattered collages, in which historic images of Abraham Lincoln are overlaid with portraits of iconic Hollywood celebrities, contemporary artists, and legendary American boxers — Robert DeNiro in «Raging Bull,» Gena Rowlands in «Gloria,» Christopher Wool in his studio, and publicity stills of Muhammad Ali.

Among them are Frank Bowling's dynamic painting «Tambernic Tumbles,» which resembles a distorted digital image but was painted in 1975, well before most people would have known what that was; Hans Arp's newly restored 1954 bronze «Leaf on Crystal,» which the de Menils kept for years at their home; and a 1991 collage by Larry Bell, which Davis found in a box.

In Small Archive of Images (1986/1996 -1999), viewers confront a wooden chest of drawers that may be opened to reveal small paintings, photographs, and collages.

Her collages are constructed using fragments from fashion and travel magazines, pornography, African art books, automotive schematics, and images drawn from science fiction as well as hand - drawn or painted elements which create a variety of new formations of the body.

The finished works are delicate, highly detailed paintings on paper incorporating images and texts rendered in ink, pencil, watercolor, rubber - stamping and collage.

Tomaselli's new works are richly layered collage and painted surfaces incorporating plant life as well as images from anatomical illustrations, magazines and nature guides.

Page 357: Wangechi Mutu creates Afro - futuristic paintings and collages of women using images cut from Vogue, National Georgraphic and even porn magazines.

The result is at once a strikingly resonant contemporary and yet evanescent image, that through the collage of canvas also engages with the history of distorted form and the constructive brushstrokes of post-impressionist painting.

Employing a range of media — oil paint, watercolor, gouache, collage, graphite — Tom Knechtel creates spectacular images.

Her artwork, combining drawing, collage, printmaking and paint, frequently contains feminist overtones drawn from myth, literature and personal history; the juxtaposition of images suggesting both memories and re-imaginings.

How do the works on paper relate to the large paintings because you have just described in a way a whole set of collages in your head of images that come together.

Created as a synthesis of painting, drawing and collage, the works fuse formal concerns with the representational image, which can be seen in Phillips» inclusion of photographs of exterior spaces and architectural elements.

Executed with layers of paint, glitter, resin, pointillist dots and collaged images of genitalia cut from porn magazines, an elephant dung breast protrudes from large - scale canvas which is perched on two elephant dung balls embellished with map pins that spell out «virgin» and «mary.»

The museum describes her captivating collage paintings thus: «In her vibrant, textured works on paper, Akunyili Crosby employs collage and acetone - transferred images in her depictions of intimacy and domestic life.

Her self - taught process consisted of blowing up images from magazines and newspapers, collaging them onto canvas, and then painting over them in bright, saturated colors.

His gallery installations are cabinets of curiosities featuring intricate wall paintings of beautiful women, indigenous statues and deities, collages crafted from vintage magazines penned and inked by the artist, human - like insect heads encased in vitrines, dolls that have been transformed into gang members, and images of pin - up girls with full tattoo sleeves.

When ill health prevented Henri Matisse from painting he turned his hand to cut - outs, using collage to create whole images or compositions.

A new exhibition of the artist's work features more than 50 collages, paintings and hand - painted serigraphs considering girlhood, self - image and the dysfunctional legacy of colorism.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

Early on, she worked in collage as well as paint: The Image As Burden includes several examples, perhaps the most significant of which is Love Versus Death (1980), in which two «clue - strips» consisting of various photographs and newspaper clippings (Steve Biko is among them, and so, too, is Peggy Guggenheim) suggest ways of reading the work's central panel of drawings.

The focal point of this series is the use of a girl's dress image which explores the use of collage, painting, drawing and found objects in a fun design context.

The panel of judges ruled that 25 of Prince's 30 «Canal Zone» collage - paintings fairly sourced images from Cariou's book Yes, Rasta according to the legal doctrine of «fair use,» which allows artists to employ other creators» imagery as long as they «transform» it into something substantively new.

In the large construction «Bound», a wide yellow line (both as painted mark and as collaged or free hanging dyed and hand painted muslin) traverses the entire field, stitching together disparate materials and creating a possible path for the eye, which never arrives at a static image.

Guided by their formal qualities, notably a lattice of beiges, mauves, and vermillion, Melee collages, crops, rotates, and mounts the images, often attaching this territory to segments of track lighting or sculpted and painted fiberglass curtains.

The paintings, works on paper, mixed - media collages, and photographs feature a number of purchases, including Audrey Flack's large oil and acrylic canvas, World War II (Vanitas); two elaborate mixed - media collages by Mickalene Thomas; textile artist Sonya Clark's Unraveling; photographs of performance artist Cassils» Becoming an Image; photographs related to Leah Modigliani's Morris Gallery exhibition The City in her Desolation; and works on paper by Fernando Orellana.

Image: Molly Zuckerman - Hartung, Adulterate, 2013, acrylic, bleach, enamel, latex, and paper collage on cut, draped, and sewn cloth and canvas; oil and spray paint on two leaning canvases; found objects, 95 x 167 x 12 inches (hanging)

Her tiny collage drawings on film and paper are graphically rendered and the complex images echo structures of dark and futuristic places akin to those in her large paintings.