Sentences with phrase «resulting painting marks»

The resulting painting marks the impossible threshold between the construct and the organic to become something not quite belonging to either pole.

Like Pollock, De Kooning was a strong believer in the idea that an artist acted out his inner impulses, and that something of his emotion or state of mind could be read by the viewer in the resulting paint marks.

Not exact matches

Compared to the competition, Supras are incredibly reliable, and those who own them know it, resulting in thousands of MKIVs that have surpassed the 100,000 - mile mark with nary the hiccup or the paint flaws normally associated with those kind of numbers.

Turbo buyers aren't in the market to save money, so most walk in the dealership and simply request the best equipped, highest - marked 911 available, resulting in a set of keys to a Turbo S. Unfortunately for big spenders, outside of made - to - order paint and special order interior options, there weren't many ways to differentiate their maxed - out, all - options - checked Turbo S from the rest of the Porsche crowd.

Abramowitz writes: «As is typical of his paintings, [Auerbach's] drawings often show many layers of built - up re-workings until there is a dense mangle of lines, each mark thought through, erased and re-considered until he is satisfied... His working process results in portraits that are both an expression of his reaction to the sitter, and his own idiosyncratic way of working, creating, destroying, and creating anew.»

The paint marks on the denim result from a re-performance of Thai performance artist's Duangjai Jansaunoi use of her own body to paint on canvas during season 2 of Thailand's Got Talent.

The composition is dominated by a large expanse of wood painted with the artist's iconic cadmium red, resulting in an area that resonates and reverberates with an intensity of color that is unrivalled in twentieth century art, except perhaps by the forces of color created by Mark Rothko on his large - scale canvases.

Marking a return to the discipline of painting, these new works employ architectural schematics, repetitivebrushstrokeand silkscreen, among other devices to get at the core nature of the expressive action and end result.

Profoundly influenced by Chinese painting traditions and techniques — especially the marks of the eighth - and ninth - century Yi - pin «ink - splashing» (or «flung ink») painters — mentorships from John Cage and Agnes Martin, and the harmony between man and nature espoused by Taoist philosophy, Steir considers elemental forces active participants in her work, intentionally removing herself from the action and allowing gravity, time, and the environment to determine the work's result.

Painters including Jackson Pollock (1912 — 56), Willem de Kooning (1904 — 97), Franz Kline (1910 — 62), Robert Motherwell (1915 — 91), Mark Rothko (1903 — 70), Barnett Newman (1905 — 70), Adolph Gottlieb (1903 — 74), Richard Pousette - Dart (1916 — 92), Clyfford Still (1904 — 80) and Lee Krasner (1908 — 84) saw the individual process of art - making as equal to or more important than the final result, and art critic Harold Rosenberg coined the phrase «action painting» to refer to this overriding significance of the act of painting.

I don't showcase mark making; it is the result of painting.

The resulting paintings look gestural yet controlled: Street repaints the body impressions with more intentional mark making.

Each painting is formed with millions of the resulting flyspeck markings.

In 1977, the Smart Museum acquired a large painting by Mark Rothko as the result of a generous gift by Mrs. Albert D. Lasker, who acquired the painting from the artist himself.

Successive layers of paint on my large paintings become infinite points of textural highlights and are the unintentional result of the process of untold marks.

Yet those splurges, slicks and virulent marks are the results of a master manipulator of paint.

Before bids began, the mural - sized painting was positioned to reach a record result with the estimate set at approximately $ 8.3 million — $ 11 million, which far exceeded Bradford's previous auction high mark.

The result is an invigorating gust of a painting, with the clock tower of the fishing village from which it takes its name visible among a mass of swirling marks, as though we're being blown around the village's harbour, and with the figures of a fisherman and waiting woman (harking back to Realist marine painting) just about discernible.

Profoundly influenced by Chinese painting traditions and techniques — especially the marks of the eighth - and ninth - century Yi - pin «ink - splashing» painters — mentorships from John Cage and Agnes Martin, and the harmony between man and nature espoused by Taoist philosophy, Steir considers elemental forces active participants in her work, intentionally removing herself from the action and allowing gravity, time, and the environment to determine the work's result.

The support and devotion of Jackson towards the artistic career of Sam Francis resulted into the «Twelve Americans» Exhibition at the Museum of Modern Art in NY and later «The New American Painting» where 17 artists, including Jackson Pollock and Mark Rothko, demonstrated the artistic freedom of expressive artists.

If we adopt the screen then as the emblem of the contemporary optic, we presumably regard contemporary painting as somehow marking a return to a quasi-classical conception of its task as one of illusionistic affect... The intelligence lies in suggesting that materiality can persist as a key affective dimension of painting only if its terms are re-written... Recent paintings, like Michael Stubbs's work towards a diminished materiality, resulting in something more akin to the continuous surface associated with the varnished skin of an Old Master painting than to the opaque porosity of a Hofmann or Still.

The resulting energy flows, unbridled, in and out of her painting, and is linked by Mark Stevens in his essay «Essential Hesitations» to such contrasting phenomena as cave painting, Alberto Giacometti, and Philip Guston.

The results are sumptuous abstract encaustic paintings that utilize a minimal color palette and repetitive imagery, thick layers of translucent and opaque wax, paper prepared with batik markings and hand rubbed oil stick combined to create multi dimensional panels.

The resulting paintings reference both a structural life and planar presence, which further seek to rework notions of space and mark - making.

The marks and gestures would evolve according to their own logic as a result of the artist's concentrated effort — the sheer mental and physical force — that it takes for such paintings to come into existence.

The resulting marks and granular remnants further enforce this impression of the paintings being mysteriously active, of momentarily containing an - other, as they appear to glow, thrum and mutate.

The result was a purposeful confronting of fine old paintings and modern imagery, including My Marilyn (1965), his version of a sheet of contact prints marked up by the star, and a working, mute TV set.

The resulting painting tells the story of its own making: pock marks, streaks, ruptures and dirt are imbedded in a kind of code that speaks of the blood, sweat and tears of everyday life.

Kim has described her work as «a visualization of Zen and Tao» and her unique process, whereby she remains silent and of even breath when executing each mark, results in paintings with rhythmical abstract surfaces that seem to pulsate, as if the result of organic growth.

The resulting paintings are complex and subtle fields of texture and color resulting from a series of deliberate, measured marks.

The unexpected result is that they cancel each other out; a subversion and transcendence of both the painted marks and the original marks they represent.

Close - ups of Gianna Commito's abstract painting reveal the textured mark making that results from taping the surface and layering translucent and opaque paints.

Each painting marks a transition with the following series of works - result of first considerations for further image motifs.

The resulting large - scale paintings explore color, composition, and mark making through the representation of surfaces at once reflective and transparent, material and immaterial, mundane and magical.

His jarring color choices, spontaneous mark making and scratched hatch marks are the result of his ongoing fascination with the manipulation and implementation of paint.

Anderson's process is visible in the many different kinds of mark - making in oil crayon and oil paint and in the complexity of the resulting compositional space.

Gutai paintings were the result of a surface being heavily manipulated by human presence, in which the body is used as brush or mark - making device, resulting in a hybrid object somewhere between the act of painting and the action of the body.

Cooper mixes drawing and painting creating expressive figuration and instinctual mark - making, resulting in a vibrant and reflective oeuvre exploring time and spirit.

The result of this new, soft - spoken aesthetic is a renewed focus on what has always been the main concern for the artist, the central act that forms the genesis of all painting, making a mark, an intervention in what was previously barren, featureless and still.