Sentences with phrase «remember seeing your paintings»

I remember seeing your painting, «The Day of the Locust» (1977), at MoMA in the late»80s, and I kept thinking whoever made this painting must be a very colorful, and joyous person.

Not exact matches

HRT: The portrait that I will always remember the most, and that many people have been moved to tears when they saw it in the exhibition, is a painting of Abdul Rahman.

Remember God is painting a larger picture for your life, when today is muddling the grander view, look back to see all the ways that God has already proven faithful.

When I was a college student (many many moons ago) I remember seeing a plywood construction barrier on campus on which someone had spray painted JESUS SAVES.

«I just remember taking the snap, trying to get low,» he says, «but it was difficult, and I remember getting hit and then seeing stars, and the next thing I remember, I remember looking down and seeing yellow, which was the paint of the end zone.»

I remember LOVING the playdoh and paints / sparkly glue days... and hating the sleeps, naps, and car seat struggles... but just barely... I was lucky enough to have a pretty fun mom group, and I swear I saw most of these other moms more than my own husband, it's as if I was scared to be alone with two toddlers in the house..

I remember seeing them being painted.

Remember, submit your photos and you'll not only be entered to win the painting but you'll also get to see them as part of Wednesday's round - up!

After narrowing it down to four options, I confirmed my decision by chatting paint colors with my sweet friend Sarah, you may remember seeing her Midcentury House Tour a couple years ago, I love her and her style!

If you follow me on Instagram, then you may remember me mentioning how I finally decided to paint our island after seeing a recent photo from Benjamin Moore.

At Michaels, I saw a few brands (Americana, FolkArt, Martha Stewart and another one I can't remember the name of) offering chalk and chalky paint options in a wide range of colors.

Because I barely remember anything from any other movie in this series (I had to go back and reread my reviews, not just to refresh my memory, but to affirm that I'd even seen the previous films), everything that wraps up loose threads, the two (count»em) times characters are forced to give Biblical genealogies to the probable delight of ardent fans, the deadening nonsense involving love triangles, all that jazz, is exactly like watching paint dry.

Catching the northern lights had been a dream for me since I was little and remember seeing photos of these crazy green streaks painting the night sky.

So it was there, at the age of 10 or 11, that I saw the first painting I remember in a gallery context — a painting of a boat on the water by Paul Resika.

I have a history of constructing vivid but sometimes revealed to be false memories of favorite paintings by artists I love: a painting will be a lodestar in my mind, and I will remember not just it, but the wall of the museum or gallery that it hung on, and perhaps at the core of my memory is my memory of myself at the instant of seeing it.

Remembering that I saw a remarkable painting by Sutton in a show last year, Abstract Painting in the Seventies, higher in colour than these at HMS, I make comparisons in my head and note the «continued vigour» of his oeuvre (borrowing a phrase from painting by Sutton in a show last year, Abstract Painting in the Seventies, higher in colour than these at HMS, I make comparisons in my head and note the «continued vigour» of his oeuvre (borrowing a phrase from Painting in the Seventies, higher in colour than these at HMS, I make comparisons in my head and note the «continued vigour» of his oeuvre (borrowing a phrase from Manley).

I remember seeing some small paintings at your last show at DODGE that had wood triangular spikes sticking out of them.

I remember I always liked to see paintings, and the paintings that I can remember in the Art Institute are Giovanni di Paolo.

Widely revered and remembered in Miami, and in general by collectors and scholars of contemporary Latin American art, Alfonzo's painting can once again be seen at the Whitney Museum of American Art, in the current show, described here, «Fast Forward: Painting from the 1980spainting can once again be seen at the Whitney Museum of American Art, in the current show, described here, «Fast Forward: Painting from the 1980sPainting from the 1980s.»

I always remembered a short novel by Osamu Dazai in which there is a lodger who paints nothing but chrysanthemum flowers — it comes to my mind every time I see a chrysanthemum flower.

I still remember vividly his painting in America Is Hard to See, the inaugural exhibition at the Whitney Museum of American Art's new building in 2015.

(Scott told Alan Bowness that, in 1946, he had seen an exhibition in Paris called A thousand years of still life painting; as there is no record of such an exhibition in Paris that year the exhibition he remembered must have been La Nature Morte de l'Antiquité à nos Jours, which opened at the Orangerie des Tuileries in April 1952).

If you have ever seen Sunflowers in person, you will remember the globs of paint that feel so thick, they might fall off the canvas at any moment.

I remember looking at one of these little intellectual magazines when I was sixteen and I saw a de Kooning painting, and thought, wow, that's really cool.»

I remember seeing Ulrike Müller's paintings for the first time at last year's Whitney Biennial.

«He was very curious to know who, all of a sudden, had three paintings,» remembers Moo, who received a call from Still's wife that year saying they were visiting San Francisco and wanted to see the Andersons if they would send a car.

I first visited the Patchings Art Festival back in 2007 and remember walking around the entire day as I was overwhelmed with meeting and chatting to some of my watercolour painting heroes, and there was so much to see and do.

Virginia Dwan, who offered him support at that time, remembers that he had a largely «underground» reputation.1 Dwan recalls first seeing Reinhardt's nine - foot black paintings at the Betty Parsons Gallery in New York and, later, visiting the artist in his studio.

I remember in a private collection in Chicago where I saw the first paintings by, one painting, by mark Rothko.

I remember thinking that if I had seen someone make the hand - written joke and call it their work, I would have said, «I wish I had done that,» (R. Prince, quoted in «Band Paintings: Kim Gordon interviews Richard Prince,» Interview Magazine, June 2012).

Dorothy Moss, curator of painting and sculpture at the National Portrait Gallery, remembers seeing Sherald engage with young African American girls at a gallery talk.

SJ I don't know to what extent they resolve themselves in a painting, but I'm very conscious that there are things I see that I want to remember, to use.

In a recent letter to the Hoxton Gallery, Auerbach remembers that Cunningham «looked into the college to look at the model, then sprinted to his room to paint the model he had seen from memory».

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.

The strangest feeling, as I remember it, was to locate the white shapes locked safely into the colour grid, but to see them also as free and ready to enter our space, our world... The conundrum of these masterpieces is that they are decorative without being designs, pictorial without being paintings, heart - stopping in their directness, their economy, their inventiveness.»

I often find that careful measuring takes me away from my natural way of seeing so I tend to avoid doing too much of it... I usually don't invent things or move things, but I will bend or stretch or shrink things to fit a compositional need, not always consciously... I do paint a lot at street level and have over the years, but I have loved being high up for as long as I can remember... I believe my first 10 years living in Washington Heights at one of the highest points in Manhattan with a view from the ninth floor toward the Cloisters created some kind of archetypal inner landscape.

I remember a poem by Bukowski: The Strongest of the Strange You don't see them often For whereever the crowd is they are not, these odd ones, not many, but from them come the few good paintings, the few good syphonies, the few good books, and other works and from the best of the strange ones perhaps nothing, they are thier own paintings, thier own books, thier own music, thier own work.

I remember the same sense of outrage the first time I saw Frank Stella's black paintings and to a lesser extent the first show I saw of Warhol's at the Stable Gallery.

Not actually visiting, I can imagine seeing the work, and I can also remember other works by Dower that I have seen before, like the one I saw here once at the Eagle Gallery, and where, in a conversation with the gallery owner Emma Hill, she noted the beautiful, subtly «faulted» quality of the painted surface.

I didn't go into Manhattan often until I attended the High School of Music and Art, years later, though I remember visiting the Metropolitan Museum of Art with my father and seeing a Jean - Simon Chardin painting of a peach, which impressed me because it looked so juicy, so perfect.

This may be a bit left field, but I was in London for Bernard Cohens breakfast at the Tate Britain, where I went straight to see the Cezannes at the NPG and then to Garys show at Paisnal.Let me say I take my hat off to the Paisnal gallery for showing an artist so obviously alive and kicking.Ive known Gary since we showed together at MOMA oxford straight out of college.I also remember his big show at the ACME gallery, where he mixed drawing and paint very successfully.I have to say I was a little disappointed, particularly the way an abstract expressionist activity stresses the surface, particularly the Rhoplex PVA, which looked frothy..

I remember seeing the exhibition with a friend who was in medical school and she literally couldn't handle one painting that featured a pile of legs.

Plenty of people, and not old ones either, can remember a time when people certainly didn't get in line to see such work, when Freud, instead of being placed alongside Edward Hopper in the pantheon of modern painting, was seen (if glimpsed at all) as a mere afterthought to the world triumph of American abstract art.

The first art Ms. Schutz remembers seeing was by her mother, a junior high school art teacher whose Abstract Expressionist paintings of Lake Michigan hung on the walls of their home.

Rail: I remember seeing your Sea Wall paintings with all sorts of sculptural elements such as boats and geometric forms and other things while I sat on the floor in front at Paula's gallery in May 1985 or 1987 when I was an art student.

I first saw an actual painting by Agnes Martin in 1977; I vividly remember the moment.

Remembering Richard Smith — so glad to see an image of Dick's painting at the top of your newsletter.

I remember having Kenny Schachter over and he saw the landscape paintings and liked them.

I can remember the struggle but I don't see it in the painting.

He painted grandiose landscapes, real and imagined, seen and remembered.