Sentences with phrase «practice of painting at»

Not exact matches

Townsleygallery told us, «I have always loved drawing and painting since I was young but haven't had the confidence to really explore this beyond practicing at home; recent holidays in Cornwall inspired me to paint some of the scenery to hang on my walls at home... this had led to commissions and I am slowly taking this forward.

She's not a Cotswold cottage so this may well bomb on the algorithm thingy, but, she's adorable and wanted me to take a photo of her practicing for the «mule» (mural to you and me) she has to paint at school tomorrow.

The program, initiated last year by County Executive Anthony J. Picente, Jr., targets properties in Cornhill, West Utica and parts of East Utica that are «at risk» for lead poisoning and allows the homeowners to replace old lead - base painted, single paned windows with new energy efficient replacement windows purchased at cost and using lead safe work practices.

Paintings at Altamira «Why should the primitive artists of the paleolithic paintings at Altamira have chosen to decorate the darker recesses of their dwellings, rather than practice their art where the light of the sun would have helPaintings at Altamira «Why should the primitive artists of the paleolithic paintings at Altamira have chosen to decorate the darker recesses of their dwellings, rather than practice their art where the light of the sun would have helpaintings at Altamira have chosen to decorate the darker recesses of their dwellings, rather than practice their art where the light of the sun would have helped them?

Whether it's the Louvre or the Rubin Museum of Art, students are often encouraged to spend time sketching the paintings and sculptures that intrigue them — not to practice their art skills, but to get them to look closer at the details: the complex color of a sky, the figure off in the distance... After taking the time to draw a sketch yourself, you're bound to remember the details of a work and have a greater appreciation for its creation.

i was trained as an optometrist, but became so interested in painting that i only practice being an eye doc one or two days a week, now - and spend the rest of the time at the easel.

Clyde Baldo, a psychologist who works with disillusioned internet daters at his practice in New York, paints me a picture of the other side of the online experience.

She began her painting journey at the age of 10 after she underwent the traditional Ndebele practice in which young women are cloistered from society for a few months and taught the traditional craft of beadwork and mural paintings.

Offering a yoga shala, which they allow guests to use with or without a teacher, painted murals, hammocks, and quiet garden nooks, this place is the perfect place to practice mindfulness, and the art of doing nothing, all at the same time.

De Jong writes: «Warm despite the preponderance of grey, Dickinson practiced an immediate form of painting in the smaller paintings, many of which can be viewed at Babcock... Painted quickly and in one sitting, these paintings were greatly admired by the Abstract Expressionists.»

painttube is a research group of staff and post graduate students at the National College of Art and Design, in Dublin, who are engaged and interested in painting within contemporary fine art practice.

Fisher comments: «I think one of the most interesting questions in a painting practice is how to be simultaneously of the present in the work and at the same time speak to a well - articulated lineage.

Four years on from the last time I saw her work (at the Bill Maynes Gallery) she has reinvented her practice yet again, giving us some of the most accomplished, not to mention downright beautiful, painting to be seen anywhere.

Murillo's huge and physically enveloping canvases (seen at Art Basel 20135), echo familiar threads through contemporary fine art painting practice — the energetic gestures and scribblings of Cy Twombly, the haptic scruffs and mixing of materials of Antoni Tàpies and Anselm Kiefer, the calling out (in script) of Colin McCahon6 and the drawing, foodstuffs and performances of Joseph Beuys and William Pope.L.7

Bourgeois's diverse practice included drawings, paintings, textiles, embroidered works, sculpture, and installations ranging in scale from a few inches to monumental, fully immersive environments like Untitled (1991 - 2000), the 15 - ton marble sculpture that is the centerpiece of her exhibition at MASS MoCA.

Katz was first exposed to the notion of plein air painting at Skowhegan, which would prove pivotal in his development as a painter and remains a staple of his practices today.

In situating the development of his art directly alongside his life experiences, and in expressing doubt and desperation, LaDuke placed painting firmly at the center of a sentient artistic practice.

This exhibition film features leading British artist, Marcus Harvey, talking about his summer exhibition at Jerwood Gallery, his artistic practice and the painting that was the hot topic at the Sensations exhibition in 1997, the portrait of Myra Hindley.

In the late 1940s, he had studied at the Skowhegan School of Painting and Sculpture in central Maine, where he had practiced painting quickly out in the laPainting and Sculpture in central Maine, where he had practiced painting quickly out in the lapainting quickly out in the landscape.

This unique combination of global cultural influences converge in his multi-disciplinary practice of more than a decade since the completion of his Master of Arts degree in painting at The Royal College of Art, London in 1998 and his Bachelor of Fine Arts degree in painting from the School of the Art Institute of Chicago in 1995.

Over the past two years, she has transformed her practice, producing large - scale and multi-panel paintings first presented at the 2015 Venice Biennale, and in 2016 at Salon 94 and the Modern Art Museum of Fort Worth in Texas.

Hoyland often made paintings from the inside, standing on the canvas and flinging paint around, sometimes straight from the can, in the manner of Jackson Pollock, and here this practice is visible at its most emphatic.

At Bildmuseet, he presents a new painting about a forcible removal and the practice of guerrilla reindeer herding as a survival strategy.

These practices led directly to the production of watercolor works between 2010 - 2014, which includes my recent painting showing at the Prince Street Gallery, «D.P.J. 2013» from 2013.

The MFA in Painting at the University of Houston is intended to facilitate intellectual development and the practice of making art, as defined by the needs, interests and affinities of each student.

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, Twentieth - Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

The artists participating at the Grundy Art Gallery are Allison Katz, who displays a trilogy of works comprising painting, sculpture and print; Amy Stephens, whose practice centres on reclaiming objects and images from the native landscape; Ruth Beale with new large - scale works on paper, drawing on the British tradition of satire to critique current events; and Rebecca Birch, who brings an interactive installation investigating the politics of surface.

In this, his seventh solo exhibition at Waddington Galleries, he continues to explore the physical nature of paint, pushing further his practice and its examination of the relationship -LSB-...]

While she is best known for her performances — from the Happening Meat Joy (1964) in which scantily clad dancers writhe around with raw flesh, to the infamous Interior Scroll (1975) in which she reads a manifesto extracted from her vagina — painting remained at the core of her practice.

Caroline Kha uses the term «transcriptive painting» to describe parts of her practice that include small silverpoint tondos of islands found on Google Earth, monochrome paintings of mountainscapes sourced from websites, and transcriptions of Rembrandt paintings made at The National Gallery in London.

In the mid-1970s, Hilton Kramer took note of an inflection point in art, with painting and sculpture on the one side and photography on the other: «At a moment in our cultural life when the imperatives of formalism seem to be on the wane in the discussion, if not in the actual practice, of painting and sculpture, a vigorous restatement of the formalist position has come from a surprising quarter — from the world of photography.»

Jukkala says, «Didier's artistic practice connects with the deep traditions of painting, drawing, printmaking and figuration at PAFA.

Astute at locating and engaging the dynamic fountainhead of artistic practice relevant to time and place, in one installation, Ferrer nurtures a powerful tributary of faces rendered on paper bags in crayon, pencil, paint and collage: an extant, sui generis body of work that the artist has cultivated since 1972.

Japanese artist Tetsuo Mizù, in his first solo exhibition in Hong Kong at Whitestone Gallery, presents a welcomed deviation from more traditional depictions of the subject with paintings that focus on the storied practice of international maritime flags.

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, 20th Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

Ashley Bickerton's vibrant and often dystopic vision of contemporary culture has been at the center of his four - decade - long practice, which includes painting, photography, sculpture, and every possible combination therein.

In the meantime, come back and check out the Outside the Lines column, which will continue to have regular reactions and reviews of exhibitions and painting practice, including a look at Peter Doig and Sidney Nolan.

Cocurated by Alfred Pacquement — the former Musée National d'Art Moderne director who previously helped organize the artist's 2013 retrospective at the Centre Pompidou — and uniting fourteen large - format paintings, the exhibition tracked Hantaï's production in the crucial years 1960 — 71, when he developed his signature practice of pliage: painting variously crumpled or knotted canvases and then subsequently unfolding and stretching them for exhibition.

Screening: «An Evening with Raha Raissnia» at the Museum of Modern Art The Iranian - born artist and filmmaker presents an evening of her multidisciplinary practice, which combines painting, drawing, filmmaking and performance.

Amnesia is at the core of the digital age, so I think the continuous practice of painting is also a process against forgetting.

artSümer represents artists at early stages of their career development, whose diverse practices include painting, drawing, sculpture, photography, video and new media.

Installation view of works by Simon Ingram June 2 — July 29, 2007 Curated by Tina Barton, Four Times Painting at the Adam Art Gallery, Wellington, New Zealand, focuses on the work of four contemporary New Zealand artists, who each critically engage with the history and practice of pPainting at the Adam Art Gallery, Wellington, New Zealand, focuses on the work of four contemporary New Zealand artists, who each critically engage with the history and practice of paintingpainting.

Ranging from large - scale painting to site - specific installation, these commissions spotlight trailblazing artists at different stages of their careers, and reflect the museum's continued commitment to providing an international platform for a wide range of contemporary artists with innovative and experimental approaches to their practices.

Her artistic practice and pedagogical bent — she is an esteemed professor of painting at the School of the Art Institute of Chicago, a position from which she weilds considerable influence in the city's art scene — has shaped her presentation on the fourth floor of the Whitney, which she has organized as a sort of visual curriculum on various artistic processes and approaches to materials.

Studying at the California College of design in Newport Beach, Harris was late in her practice of painting because of years engaged in various business ventures.

Indira Allegra, artist indiraallegra.com Beth Bird, documentary filmmaker and PhD candidate in the Department of Film and Media at the University of California, Berkeley Robin Clark, Director of the Artist Initiative, San Francisco Museum of Modern Art Gregory G. Geiger, artist gregorygeiger.net Maria Elena González, artist and associate professor, Sculpture and New Genres at the San Francisco Art Institute Tim Hyde, artist and assistant professor, Department of Art and Art History, University of California, Davis timhyde.info Amanda Hunter Johnson, conservator, San Francisco Museum of Modern Art Tomoko Kanamitsu, program associate, Higher and Continuing Education, Education and Public Practice, San Francisco Museum of Modern Art Emily Liebert, associate curator of Contemporary Art, Cleveland Museum of Art Peggy Phelan, Ann O'Day Maples Chair in the Arts, Professor of Theater & Performance Studies and English, Stanford University Sarah Roberts, Andrew W. Mellon Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art Kaeleigh Thorp, graduate student in Museum Studies at the University of San Francisco Meredith George Van Dyke, curatorial assistant, Painting and Sculpture, San Francisco Museum of Modern Art John Zarobell, associate professor and undergraduate director of International Studies at the University of San Francisco

This work complements the museum's 2017 additions of a monumental painting and a signature video work by Bradford, commemorating the collaboration between the BMA, co-organizer of the U.S. Pavilion at the 2017 Venice Biennale, and Bradford, the 2017 representative for the U.S. and enabling the BMA to show three key areas of the artist's practice — painting, video, and sculpture.

Indira Allegra, artist Beth Bird, documentary filmmaker and Ph.D candidate in the Department of Film and Media at the University of California, Berkeley Robin Clark, director of the Artist Initiative, San Francisco Museum of Modern Art Gregory G. Geiger, artist Maria Elena González, artist and associate professor, Sculpture and New Genres, at the San Francisco Art Institute Tim Hyde, artist and assistant professor, Department of Art and Art History, University of California, Davis Amanda Hunter Johnson, conservator, San Francisco Museum of Modern Art Tomoko Kanamitsu, program associate, Higher and Continuing Education, Education and Public Practice, San Francisco Museum of Modern Art Emily Liebert, associate curator of Contemporary Art, Cleveland Museum of Art Peggy Phelan, Ann O'Day Maples Chair in the Arts, Professor of Theater & Performance Studies and English, Stanford University Sarah Roberts, Andrew W. Mellon Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art Kaeleigh Thorp, graduate student in Museum Studies at the University of San Francisco Meredith George Van Dyke, curatorial assistant, Painting and Sculpture, San Francisco Museum of Modern Art John Zarobell, associate professor and undergraduate director of International Studies at the University of San Francisco

Chronicling an abstract personal account of his relationships, studio practice, and his sense of history through a spectrum of techniques, New York - based artist Richard Aldrich has in recent years placed himself at the forefront of a new approach to the medium that re-thinks how a painting is made, how it is experienced, and ultimately what it all means.

Shown only in black - and - white, the images paint a picture of the rich photographic community practicing together at the Lexington Camera Club between 1954 and 1974.