Sentences with word «paintstick»

In Serra's recent drawings, such as the Solids series (2007 — 08), the accumulation of black paintstick on paper is extremely dense and nearly the entire surface of the paper is covered in a layer of viscous material.
In Serra's recent drawings, such as the Solids series (2007 - 2008), the accumulation of black paintstick on paper is extremely dense and nearly the entire surface of the paper is covered in a layer of viscous pigment.
Rather than building up layers of paintstick by hand, Serra covers a table with pigment, lays down a sheet of paper, and presses the back of the page with a metal block or a round - tipped rod.
In the late 1980s he explored how to further articulate the tension of weight and gravity by placing pairs of overlapping sheets of paper saturated with paintstick in horizontal and vertical compositions.
To make these drawings, Serra often pours melted paintstick onto the floor and then lays the paper on top of the pigment.
To make these drawings, Serra pours melted paintstick onto a table, puts a layer of wire mesh or screen on top, and then transfers the pigment on to a sheet of paper by pressing a hard marking tool onto the back of the paper.
It is there that the visitor can see how densely the artist has applied paintstick over a base of silkscreen with obsessively overlaid, repetitive gestures.
For the softly colored eyes, Barber patted MAC Pro Dark Brown Paintstick and Mole Skin Eye Shadow over the eyelids with his fingers.
Describing the process by which these works are made, Neil Cox notes, «Serra spreads his material, which might include one or more types of black [paintstick, etching ink, and silica] onto a table.
Fat paintsticks, rough canvas, and a limited palette interact in an eccentric facture that resembles gravestone rubbing.
They increased to human - scale, and bold forms created with black paintstick exploded the boundaries of the paper support.
Imposing materiality comes into play with the heavy black paintstick apparition Artaud (2009) by Richard Serra, and a host of cerebral sculptures by artists ranging from Franz West to Eva Rothschild.
Richard Serra: Black and White includes works from several recent prints series as well as six new black oil Paintstick editions which explore the properties of weight, balance and gravity.
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Above: Jean - Michel Basquiat, In Italian, 1983, acrylic and oil paintstick on canvas with wooden supports and five smaller canvases painted with ink marker.
Acrylic, oil paintstick and paper collage on canvas with exposed wood supports and twine, 152.5 x 152 x 4.5 cm.
To make works such as Pacific Judson Murphy (1978), the artist affixed linen directly to the wall and applied paintstick — melted down and recast in large, heavy blocks — evenly over the entire surface.
The weight of the drawing derives not only from the number of layers of paintstick but mainly from the particular shape of the drawing.»
In these and many subsequent works, Serra uses black paintstick — an oil - based crayon — to build stark, densely layered forms that impact the viewer's sense of mass and gravity, making for an experience that is as visceral as it is visual.
Since 1971, the artist has employed black paintstick (compressed oil paint, wax, and pigment) to produce drawings that resolutely defy any metaphorical or emotive associations, yet which manifest the notions of time, materiality, and process that characterize his work.
Richard Serra, out - of - round X, 1999 Paintstick on handmade Hiromi paper 79 1/2 x 79 inches Private Collection April 13 — August 28, 2011 Organized by the Menil Collection, the first retrospective of the drawings of American contemporary artist Richard Serra will be on view at The Metropolitan Museum of Art from April 13, 2011, through August 28, 2011.
Image: RICHARD SERRA Baldwin, 2009 Paintstick on handmade paper 78 1/2 x 78 1/2 inches (199.4 x 199.4 cm) April 9 — May 15, 2010 Gagosian Gallery Throughout his career, Serra has made drawings not as precursors to sculptural works, but as separate, immediate, and fundamental lines of investigation, translating intentions into marks.
The paintstick is transferred to the sheet by pressing a hard marking tool onto the back of the paper.
Paintstick, melted down and recast in large heavy blocks, was applied using repetitive and vigorous physical gestures.
Richard Serra, Quadruple Rift, 2017, paintstick on handmade Japanese paper, 9 feet 2 inches × 26 feet 10 inches (2.79 × 8.17 m) © Richard Serra / DACS, London, 2018.
Dupont writes: «Serra's use of paintstick and insistence on drawing as black poses an interesting dichotomy with the metal plates of his sculpture... the surfaces [of his sculptures] are in fact incredibly painterly, with texture and color on a thin skin that is delightful in spite of what I am sure is Serra's desire to the contrary... The irony of the paintstick drawings is that the works with literal paint are less «painterly» than those mad of lead and steel plates.
Richard Serra, out - of - round X, 1999, paintstick on handmade Hiromi paper, 79 1/2 x 79 inches (courtesy of the artist)
To make works such as «Pacific Judson Murphy» (1978), the artist attached Belgian linen directly to the wall and covered the entire surface with black paintstick - an oil - based pigment - to build stark, densely layered forms.
The exhibition begins with his drawings from the early 1970s, when he drew primarily on paper with ink, charcoal, lithographic crayon, and black paintstick — a crayon comprised of a mixture of pigment, oil, and wax.
To make works such as Pacific Judson Murphy (1978), the artist attached Belgian linen directly to the wall and covered the entire surface with black paintstick.
Often large in scale, these drawings are typically made with a thick impasto of black paintstick (or, more recently, lithographic crayons melted into a brick), which is applied to a surface in broad, dense passages.
Acrylic, oil paintstick, and marker on canvas mounted on wood supports, two panels.
By layering the Paintstick, Serra asserts the physicality of the prints, which both absorb and reflect light, creating an overall matte, yet glistening, effect.
[Image: Richard Serra (American, b. 1939) «September» (2001) Paintstick on handmade paper; 50 x 51 in.
The works are made using Paintstick, a combination of pigment, linseed oil, and melted wax.
Medium: Paintstick on screenprint Printer: Gemini G.E.L. Publisher: Gemini, G.E.L., Los Angeles Edition size: 28, plus proofs Signed and numbered in pencil, lower margin
Made with ink, charcoal, lithographic crayon or paintstick on handmade paper or linen, such works as Trajectory # 4 or Double Rift II clearly reflect the forms and feeling of his signature steel sculptures.
Paintstick on screenprint, 37 x 72 inches.
Originally, he worked in charcoal, but switched to paintstick (a mix of oil pastel, tar, beeswax and resin) from 1973, which enabled him to work large surface areas with a single movement.
It is a heavy, physical, repetitive way of working, in which the linen or paper is covered with the paintstick.
With the use of thick impasto of paintstick, Richard Serra has been creating drawings which resonate the artist's long - lasting devotion to the examination of the dualism of physical and cognitive perception of form.
Paintstick on paper.
The painting is an oil and paintstick on canvas from 2007 entitled Tuscan Series No. 7 and measures 60 inches by 48 inches.
The weight of the drawing derives not only from the number of layers of paintstick but mainly from its particular shape.»
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