And, of course, I'm still making
the same kinds of paintings: repetitive geometric compositions whose focus is color.
If they did
the same kind of painting, they would be called derivative and be dismissed.
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.
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.
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.