Sentences with phrase «same kind of painting»

Ever since she was shortlisted for the Turner prize more than 20 years ago, she has made the same kind of painting over and over again.

If they did the same kind of painting, they would be called derivative and be dismissed.

And, of course, I'm still making the same kinds of paintings: repetitive geometric compositions whose focus is color.

That event at a time when we were all in a sense painting the same kind of paintings and painting very conventional, art school, junior Abstract Expressionist versions of that, that sort of early happening theater event or performance piece was in a way something that was pent up inside the spirit of the times and erupted from time to time in unlikely ways and then later manifested itself in a different kind of art.

Not exact matches

``... I've seen it in Nigeria where they painted all kinds of gloomy picture about Buhari: Buhari is dead, Buhari has cancer, Buhari is on a sick bed; the same things they are saying about Nana Akufo - Addo [now].

«Yes, the surface consists of nanotubes, but basically nanotubes are just a thicker form of the native oxide, which is the same as the white pigment that you find everywhere: in food, toothpaste, cosmetics, multivitamin and multimineral supplements, paints — all kinds of products,» she said.

The lighter blue is the same kind of formula but it was my laundry room paint.

I have the same dilemma about what color I should paint, my almost exact kind of hutch, which I got off craigslist for $ 50 yay.

I started off with the same kind of letter, painted and put craft paper on.

If you like you can send me your email adress and i will send you some pics of the things i did with both kind of paint and you can see the difference, i also can send you the brand name of the paint, as you are also from europe maybe you can purchase the same paint.

Although there are five generations of M3s to choose from here today, we quickly filter through to the brand - new GTS, which is painted fire orange — the same color used by the long - defunct Jagermeister racing team that fielded all kinds of fast BMWs from the 2002 to the 3.2 CSL.

This is ABC's kind of science: one that strives not for an increased degree of certainty, but greater ambiguity — while at the same time painting a decidedly grim picture.

Each car has one default color, with four more preset paint jobs that all kind of look the same.

Though to be fair, it kind of doesn't matter what level you're playing since they are all more or less the same, just with a different coat of paint.

It's got a juxtaposition of different elements in the same painting and the semantics of that kind of using disparaging forms.

Maybe not in the same way as it was to the painter, but meaningful in some shared human way... I'm simply trying to get back to a kind of painting that doesn't need a written explanation — that doesn't need a statement on the wall next to it.

He notes remarks that «it doesn't care too much if it's from the 60's or from last year - it's kind of the same thing... apparently there are certain structures, certain ways of organizing a painting that's there, that I'm born with as a painter.»

One thing I see, standing in Sam's outsider boots, is that Mark's sculpture kind of looks the same as Robin's or Anthony's or Katherine Gili's — the same in the way a lot of Picasso's and Braque's cubist paintings kind of look the same.

Rutault, 72, who paints his canvases the same color as the walls on which they are hung, is known as a rather grumpy outsider, the kind of artist who's likely to skip his own openings.

«It's a kind of marrying the paint into the woof and weave of the canvas itself, so that they become one and the same.»

The heads are a perfect illustration of the dual mission Mr. Marshall has been pursuing with a kind of holy fervor for almost 40 years now: building a sturdy bridge for figurative painting from the 15th century to ours, over treacherous spans of recent history that declared both figuration and painting to be finished — and at the same time trying to rewrite history itself.

You have to see it over time, and you have to see different kinds of works by the same artist, and kind of live with it, live with the experience of that painting and come back to it until you sort of connect to it

For Crosby, the painted gesture brings together line and form in a way that imposes control and at the same time locates a kind of freedom for the resulting image.

Precisely the same kind of things occur in the act of making a painting except that in painting each action and each judgment is made against the presumption of a final simultaneity, «the thing itself».»

With the curators adopting a comparative approach, juxtaposing original photographs and oil paintings in a simplistic these two works depict the same subject matter kind of way, little is left to the imagination.

It is also arguably serious in its assertion that painting can be a kind of journalism, and can serve the same purpose.

Artists such as Nevelson and David Smith became known for large - scale outdoor sculptures and public art, while Aaron Siskind sought to capture the same kind of energy and movement in his photography that Pollock was attempting to evoke through action painting.

In the New Republic, Josephine Livingstone reviews Celeste Dupuy - Spencer's solo show at New York's Marlborough Contemporary Gallery, commending the exhibition's «assertion that painting can be a kind of journalism, and can serve the same purpose.»

In spelling out in dates and paintings how he personally had by several years got in ahead of, say, Morris Louis, with his vertical stripe paintings, Heron seemed to suggest that St Ives and New York were doing the same kind of thing.

Characterizing the qualities of this new work in a 1965 essay of the same title, Judd assessed the importance of the paintings of Jackson Pollock, Mark Rothko, Barnett Newman and Clyfford Still in the development of three - dimensional work and references the work of his contemporaries, such as Lee Bontecou, John Chamberlain, Dan Flavin, and Claes Oldenburg, among others, as examples of this new kind of art.

MH: Yes, I think the different practices do inspire each other and the same thing was my thinking, going there and actually physically making things out of clay and then coming back and making the same kind of imagery out of paint and a panel is part of the deal.

The next time I stood in the same museum having a crucial experience with reductive abstraction, I was looking at Ellsworth Kelly's famous five color spectrum piece in the 1996 show called, «Abstraction in the Twentieth Century: Total Risk, Freedom, Discipline,» and all of a sudden I was totally getting it, realizing for the first time how to internalize this kind of reductive painting as a sophisticated, witty statement.

At the same time, Martin's dispute between painting and photography brings back memories of reality and simultaneously evades any kind of realistic representation.

Is it possible today to have the same kind of private life that Guston had when he made these paintings in the mid»60s, and would this even be desirable now?

The paintings with which he first began to make his name a decade or more earlier, alongside his contemporaries Leon Kossoff and Lucian Freud, seem intent on a kind of one - upmanship in demonstrating the sheer mass of pigment that a surface can hold; his Head of EOW — his first muse Stella West — seems to emerge Golem - like from clay and mud, the same ooze of material that clogs his Building Site, Earl's Court Road, Winter of two years earlier.

That same kind of big - picture thinking informs Falconer's Artspace Collection, as does his sensitivity to the medium of painting (see below).

But at the same time a kind of artificiality is a necessary part of the effect of these paintings, which was not so true of Hoyland's earlier work, where the shapes, however massive, took on, so to speak, the veil of the medium.

The kind of paint (and the way the paint ought to be treated, which is really the same thing, for a given painting) depends on the particular spatial or object quality of the canvas, which depends on the scale of the stretcher.

In her most recent paintings, Slappey explores the same kind of pleasure / fear emotional response but within interior spaces.

In one small example, exposed seams and irregularities in the fabric create the same kind of visual stutters that another artist might achieve by painting sharp edges.

He's personable and serious enough to have gone to the trouble of building an obstructing construction of crossed beams at the front of the stand, allowing a delicious kind of backstage entrance through a narrow passage to the exhibition of paintings based on the same Franz Klineish forms.

When viewed in the same galleries as Donald Judd's works, the show should remind us that mid - century painting was also capable of attaining a kind of objecthood — one both literal and figural.

The recent revival, in my opinion, is due to a realization that at its best, Op Art is capable of the same kind of spiritual, questing dimension as a Mark Rothko painting or an Agnes Martin grid.

Where Budd Hopkins used to combine several kinds of painting, about three, on the same canvas, he is now laying them out separately, each on a different panel.

I was also struck by the formal parallels between this very pure kind of painting and the Modernist architecture going on at the same time.

«A shiny surface gives depth to the flatness at the same time as it emphasizes the flatness» he says, «But it is a kind of depth which is entirely the opposite of atmospheric depth of traditional easel painting.

At the same time I do believe that Robin is absolutely right when he insists that if abstract painting is to achieve the kinds of complexities that are seen in the painters that he highlights (and I would definitely include Vermeer, perhaps especially so) then a deeper understanding of what they achieve through the use of paint would seem not just sensible but necessary but not in the sense of seeking translatable qualities.

Many kinds of drawing, painting, sculpture and architecture, formerly ignored or judged inartistic, were seen as existing on the same plane of human creativeness and expression as «civilized» Western art.

That same year, conservative art maven Hilton Kramer huffed that Wyeth's painting «is the kind of art that gives the realist aesthetic a bad name.»

I still work in the same way — starting with some kind of composition and then playing with the painting process — but, over time, the still lifes have become less relevant.