Sentences with phrase «squeegee painting»

You can imagine our astonishment when we learned this morning that Sotheby's will be jacking its ask for another squeegee painting.

The painting in it, A B Dunkel, or Abstraktes Bild Dunkel (Dark), (CR: 613 - 2), 1986, is from what is considered Richter's breakthrough year for squeegee painting.

In «Rain Passed, the Bay with a Touch of Sun» (2007), the only indication of the painting's source is in its title, recalling otherwise — in its blurry striations of muted purples and greens — a Gerhard Richter squeegee painting.

This becomes breathtakingly clear to anyone who tours the Joyner - Giuffrida house in San Francisco's Presidio Heights neighborhood, where the 150 - odd works on display run the gamut from Whitten's The Eighth Furrow, a squeegee painting executed more than a decade before Gerhard Richter made the technique famous, to Kara Walker's epic Terrible Vacation, a reimagining in gouache of J.M.W. Turner's Slave Ship, to the young Brooklyn - based artist Jayson Musson's Anticyclonic, which is made from the scraps of innumerable Coogi sweaters.

He makes his first squeegee painting [CR: 456 - 1] and publishes the artist's book 128 Details from a Picture [Editions CR: 56].

Botero and Ed Ruscha are everywhere, and filling in the gaps, it looks like Modernism just marched on through the 2000s; Abstract Expressionism from Grace Hartigan, color field painting by Wolf Kahn, sexy pop art updates of Modernist paintings by Mel Ramos, new expressionist squeegee painting by Ricardo Mazal.

Also part of the Fondation's collection, Strip (920 - 1), Strip (921 - 2) and Strip (921 - 5)(2011) are presented to further enhance the artist's interest in the relationship between painting and photography, these works being in fact digital prints of augmented photographs taken of a previous squeegee painting created by the artist in 1990.

It includes realist paintings based on photographs, colourful gestural abstractions such as the squeegee paintings, portraits, subtle landscapes and history paintings.

A more recent affinity is the similarity to Gerhardt Richter's squeegee paintings, in which he obliterates his initial lively color fields using custom tools.

And she did pick up on his squeegee paintings, although not until around 1990, while they were married.

Richter applies thick swathes of oil paint directly onto the print, as if miraculously extracted from the squeegee paintings in the background.

Presenting multiple exposures fused together, this large - scale work depicts the artist in his studio in Cologne, seated among examples of his squeegee paintings.

The early abstracts, by alluding to familiar genres but quietly discrediting them, continuously subvert preconceptions, whilst the late squeegee paintings pretend implausibly, to be nothing more than astonishingly beautiful paint.

Richter attacks a huge green painting with one sweeping, decisive gesture after another, first squeegeeing paint across the surface, than selectively scraping it off to reveal the reds, yellows, blues and whites underneath.

Better than the»80s, I thought, when Gerhard Richter's squeegee paintings began zooming to the top of the market — years after the rudely marginalized Whitten made his.

What starts as large canvasses covered in angry stripes and splatters of lurid colours will evolve into the other body of work that Richter is famous for: the squeegee paintings.

I was reminded of Dave Hickey's amusing remark about a period in New York in the early 1970s when «everybody was painting those 8 × 12 - foot abstract squeegee paintings.»

Not exact matches

They used a watering can to wash off the paint (thanks to the dish soap it comes off quite easily)... and then a squeegee to dry it off!

Whitten made the painting, titled Sorcerer's Apprentice, by laying the canvas on the floor, dragging a squeegee across it to mix colors, and letting the... Read More

And there was certainly a time, not so long ago, when I was also a fully paid - up McKeever Believer: his seriousness, his commitment to the act of painting, and the complete absence from his work of what the American painter Gary Stephan has dubbed «visual sarcasm» — that is, the use of paint only in order to flaunt its supposed inadequacy and redundancy — made him seem like a bulwark against the insufferable smart - alec nihilism of Richard Prince, Wade Guyton, or Christopher Wool; and against the prevailing attitudes within the Higher Education establishment at which I both teach, and study on the MA programme, where the buzz - phrase on the Fine Art Critical Studies syllabus is «post-Making»; in other words, goodbye and good riddance to all that messy business with brushes and squeegees and welding torches, once and for all.

In the early seventies he made paintings with squeegees that were solid blocks of perpendicular color of different surfaces.

Some were trying out unusual materials and techniques — cotton balls, fake jewels, pigmented wax, spray guns, squeegees — either to make painting more perversely objectlike or to reopen the spatial illusions shut down by the Judd - Stella - Greenberg juggernaut.

Their surfaces are animated by lines where the squeegee has paused, by brushstrokes, other scrapings, and areas where the skin of oil paint has dried and rippled.

In the 1940s and 1950s the main groups within the Abstract expressionism were the «Gesture Painters» and the «Color - Field Painters», who experimented with new techniques for applying paint: dripping, pouring, throwing, squirting, squeegeeing, and spattering, and with the use of unconventional tools, such as wall paper brushes, sticks, and trowels.

Throughout the 70's Pettet made beautiful abstract paintings with knives, squeegees, and stains.

These sweeping wet - into - wet passes are similar to the way Gerhard Richter drags paint with large acrylic squeegees, but the flowing lines left by Lawlor's wide brushes are more human and organic than Richter's geologic scrapings.

Because these amazing wet - on - wet structures that Richter laid down felt almost like reincarnations of some of the virtuoso brushstrokes de Kooning made in 1975 paintings like Screams of Children Come from Seagulls [check out this dark blue, sideways L from the upper right quadrant, for example] or the single, epic loop at the center of the Art Institute of Chicago's Untitled XI (1975): And then when they're just right, Richter takes his squeegee to them.

Tracts of color are dragged across the canvas using a squeegee, so that the various strains of malleable, semi-liquid pigment suspended in oil are fused together and smudged first into the canvas, and then layered on top of each other as the paint strata accumulate to bring color and textural juxtapositions.

This counterpoising of chance and risk is a thread throughout the exhibition and one picked up on particularly by Gerhard Richter in St John (1988), part of his London Paintings series, in which he builds up layers of paint using huge spatulas, before erasing and revealing earlier moments with a squeegee.

Richter applies layer upon layer of paint to the canvas with «planned spontaneity,» using spatulas, brushes, and squeegees; he removes the paint, and reapplies it until he considers the picture finished..

The act of pulling and scraping paint is most associated with the Dutch Abstract Expressionist Willem de Kooning, who achieved this effect with a palette knife, and the German contemporary painter Gerhard Richter, who often used a squeegee.

«The paint goes on the brush and you make the mark... With the squeegee you lose control.»

Direct drawing, calligraphic use of line, the effects of brushed, splattered, stained, squeegeed, poured, and splashed paint superficially resemble the effects seen in Abstract Expressionism and Color Field Painting.

At once an abstract painting (or two), a figure, a squeegeed monoprint on fabric, a found object, a memory, a sculpture, this work has numerous points of entry.

and «Boschville» (both 1969), Whitten uses a squeegee and other tools to apply paint as well as scrape it away.

In Boschville, one observes the artist's early use of squeegees and the remnants of scraping, spilling and lifting of pliable acrylic paint.

Unique to the process in recent paintings is the use of squeegees.

Building up multiple layers of oil paint as he works, Richter mobilizes paintbrush, squeegee, scraper and palette knife in his signature process, his wealth of experience meeting his careful deployment of chance in highly detailed and extremely complex pictures.

From 1968 Olitski's paintings were produced with mops, rollers and squeegees, as well as the spray gun.

Stingel's recipe describes how to whip a brightly - colored oil paint with a kitchen hand mixer, brush it onto the canvas, lay a sheet of gauze over it, rub with a squeegee, spray on silver enamel paint with an air gun, and then remove the gauze to reveal the finished painting.

By then, Whitten had arrived at a signature method of building up layers of acrylic paint and drawing a tool across the surface — an afro pick, blade or rubber squeegee purchased on nearby Canal Street.

He scrapes or erases the paint, and then he paints again — and do not expect the consummate ease of Gerhard Richter with a squeegee.

Edition: 50 copies signed, dated and numbered in Roman numerals in pencil on the endpaper, also numbered in Roman numerals in felt - tip pen on the penultimate page; oil paint on book cover applied by Richter with squeegee, in a light grey cardboard slipcase (designed by the artist) 20 copies, signed, dated, numbered in Roman numerals and marked h.c. in pencil on the endpaper; some of these also signed, dated and numbered in Roman numerals in ballpoint or felt - tip pen on the penultimate page; oil paint applied to book cover by Richter with squeegee, in light grey cardboard slipcase (designed by the artist)

In 1987, Bannard began his «brush and cut» paintings, consisting of large - scale canvases in which he applied transparent tinted gel with large street brooms and industrial floor squeegees to make painted «drawings,» featuring vigorous brushwork and three - dimensional illusions.

Just like Jackson Pollock in his drip paintings or Gerhard Richter in his abstract canvases produced with a squeegee, Bradford employs methods of chance in his work.

The first series Richter completed after his 2003 retrospective at MoMA, Woods is comprised of series of dense and vibrant abstractions built from and marked by his signature technique of slathering paint with a rubber squeegee.

Since the early 1960s, Richter has explored a variety of styles, including various flavours of abstraction, from hard edge stripes to the faux expressionism of squashing paint under glass or dragging it across the canvas with a squeegee.

Using palette knives and different - sized dry brushes alongside the squeegee, Richter scraped, smeared and redirected the random collision of pigments achieved in his initial application of paint.

Richter's process is well known: he applies layer after layer of color, often wet into wet, using a squeegee to pull the paint across the surface in various directions.

For years, he used it sparingly, but he came to appreciate how the structure of paint applied with a squeegee can never be completely controlled.