Sentences with phrase «suggest more paintings»

One thing leads to another, paintings suggest more paintings.

Not exact matches

Nevertheless, Gazidis addressed the situation when asked about it at the club's Annual General Meeting on Monday, and although he didn't go into detail, he painted a positive picture in that he suggested the club will do their utmost to ensure the star pair remain for many more years.

Zayed suggests that an upgrade to more expensive and durable epoxy paint might be more cost effective in the long run.

The findings suggest that Cell Painting may provide researchers with an inexpensive, high - throughput means to understanding the functions of uncharacterized genes — a category that currently includes more than 30 percent of the human genome.

Some suggested activities include: painting, writing poetry, rafting, hiking, gardening, and more!

Myth Number Two: «There is no proof that Bioidentical Hormones are safer and more effective than synthetic hormones... All of the evidence that we have suggests that all of these hormones should be painted with the same brush,» This is incorrect and misleading.

Some date ideas we'd suggest staying away from include attending a dance, cooking, or painting class, taking a hot air balloon ride (where you're trapped together for like 30 minutes or more), singing karaoke, or going rollerblading.

, Dating Scientists have pioneered a technique to directly date prehistoric rock paintings in southern... paintings in south - eastern Botswana are at least 5500 years old, whilst paintings in Lesotho and the Korean Adult Dating Sites which somehow connects Frenchmen and bicycles with having more sex and a nation growing taller, before discussing research that suggests the use of online... Japanese Dating And Singles Site.

The leak suggested that the game would be set further east than Red Dead Redemption, so expect to see areas that feel more like the Midwest and Mountain West than the first game's buttes and painted deserts.

In an EdSource blog post, Arun Ramanathan, CEO of Pivot Learning Partners, suggests that like the innovative statistical approaches used to measure success in baseball, educators should broaden the measures they use in order to paint a more complete picture of student performance.

As the name suggests, this new trim has all the exterior features painted in the same color, targeting customers «looking for an even more elegant finish with fewer visual contrasts.»

While books and authors are more and more discussed on the web (but I suggest that you enjoy the chance to promote your literary work in Italy and Europe), paintings and artworks seem to be forgotten.

The study also paints a much more distressing portrait of the federal government's loan portfolio than other publicly available information has suggested.

And, as the subtitle suggests like an oil painting, it makes the game a whole lot more enjoyable playing the same area more than once because it looks so different.

Staccato interruptions in the jagged rhythms suggest alterations in viewpoint, landscape configurations, distant views, and more, all without compromising the exuberant abstract self - sufficiency of the paintings.

Mr. Brown's careful textures find some common ground with the more mechanical, stucco - like surface of Peter Halley's 1983 «Power Interruption» (which suggests the twin towers), and with «Third Red Sweater Painting,» a recent foray into painting by the sculptor CarPainting,» a recent foray into painting by the sculptor Carpainting by the sculptor Carol Bove.

More abstract than anything the artist has previously done, these arrays of patterned and solid - color patches suggest that separate paintings have been shattered and recombined into mosaic - like arrays.

I do not show the same painting in more than one competitive exhibition, and I would suggest other painters do the same.

Thinking about abstraction's continued relevance may require me to at least mention Zombie Formalism, («Formalism because this art involves a straightforward, reductive, essentialist method of making a painting and Zombie because it brings back to life the discarded aesthetics of Clement Greenberg»), if only to suggest that the term, coined by artist - critic Walter Robinson, quoted in brackets above, seems to refer more to the market than to the art and may appear more pertinent in the USA than in the UK where alternative modernisms have sometimes held more sway than the version associated with Greenberg and Fried.

I admire Geoff's ability at being able to suggest a huge mass of detail in foliage with a few carefully placed brushstrokes, and even though there are 11 colours in the palette for this particular exercise — This was yet another painting where I just couldn't wait to get started on this one and learn more of Geoff's watercolor techniques!

Inevitably, the cleaned half retains a palimpsest of the colors that were absorbed into the gesso; as a result, the artist's palette exists outside of the realm of traditional painting and instead suggests a far more unique chromatic vocabulary.

Matisse could suggest a whole room with nothing more than a plane of pure red paint — and now here was another way of doing something similar, of jolting the viewer out of complacency and facing up to the trickery of art and vision.

Moving into the latter part of the 60s, the third and fourth rooms suggest a broadening of Hoyland's palette and a more overt crowding of the surface with forms and, in the case of 17.1.69 (1969), a layering of the paint in so sophisticated and meticulous a manner that the canvas tends towards opalescence.

As artist Tyson Reeder looked at his «Handler» painting during the opening, he suggested that the piece has more «kinetic energy» on a pair of legs (wearing an outfit from Riepenhoff's stint at New York gallery Gavin Brown's enterprise) than it would on the wall.

Recently, however, this hybrid category has become more prominent, almost suggesting that, at a time when «pure» painting struggles for relevance, the medium's best chance of survival could depend on forming a coalition with the object.

The sketchily notated structure in the sea suggests that Bacon was intending to paint something more here although its sombre presence serves to heighten the mystery of this tenebrous masterpiece.

The selected abstract paintings in the North Gallery are drawn from his Morphic series of biomorphic and organic forms, and his Del Mar series, featuring a more linear style, suggesting striations or waterways.

He went through his black and white phase, and came out the other side in the late 1970s making paintings and prints of utter clarity, but which reintroduced colour, built up paint in low relief and explored once more the illusion of three dimensions, suggesting volume and spatial depth in what could look a little like a late - century and cheerier abstract take on Giorgio de Chirico's bleak city centres in lovely, hard colours.

In the catalog, McShine suggested painting might not be suited to tackle more contemporary issues that Conceptual art can.

Slightly skewed towards the troubled present, this theme of insinuation (or integration) vice confrontation is muted in works that may reference a starting point (consider Chasm, Distant Relative, and Fissure); more evident but still aspirational in paintings that conjure the inevitably fraught process of advance (The Door to Revolution and Other World); and most pronounced in those that suggest the desired end state (First Light and Highway).

And while Ms. Maloof doesn't make any grand claims in her paintings, her subjects» goofy, uncanny expressions and psychological states suggest a post-human (and postelection) art world in which animals seem purer, more attractive and sympathetic than we do.

«3 Other paintings, such as After Corot and In Alexander Street (1970, 1979), suggest a more diffuse psychological ambience, akin to what Walter Benjamin described as «the everyday hour,» which «comes with the night, a lost twittering of birds, or a breath drawn at the sill of an open window.

Regardless, Voisine's compositions are wholly pleasing and will appeal to anyone with a serious interest in non-objective artwork, their barely perceptible textures of matte paint, lush and velvety, suggesting there is plenty more to be imagined in the post-painterly world.

The earliest piece in the show is Swimming, Smoking, Crying (2009), whose title — through an evident nod to Philip Guston's 1973 masterpiece Painting, Smoking, Eating — suggests, albeit more indirectly, that this is another of Schutz's allegories of pPainting, Smoking, Eating — suggests, albeit more indirectly, that this is another of Schutz's allegories of paintingpainting.

In some paintings the color composition feels bifurcated: a section of canvas painted in more muted colors, which suggest a past era or aesthetic, is paired with a section of much brighter pigments.

The earth - toned ripples in one example (all the works are untitled) beg to be read as markers of elevation; the more high - contrast red, gray and beige crests in another work suggest a Bridget Riley canvas in 3 - D, with an added perceptual buzz in blurry areas that have been painted with an atomizer.

At the entrance, the large elaborately textured and tinted, latently Symbolist paintings on paper by Kerstin Brätsch — which suggest masses of rustling silks or feathers — flank a wall of works from which they could not be more different: Joe Bradley's emblems simply outlined in grease pencil on raw canvas, redolent of children's drawings.

She nixed the idea of painting the kids to look like famous artwork (a Morandi still life, Picasso's «Weeping Woman,» Ellsworth Kelly's «Falcon,» etc.) and suggested I practice making... read more... «Performance project: Face painting»

As this image suggests, the surface of the painting was originally more matte than it appears today.

Ashley Macomber uses paint to suggest the contours of skin and fur with a precision of line more commonly associated with engraving.

«Everything flows» may be the most common translation of the ancient Greek phrase Panta Rhei — the title of this latest exhibition of paintings by Keith Tyson — but the idea of a seamless transition from one thing to another, which the term suggests, seems less appropriate to Tyson's work than the alternative definition «All things are in flux», with its emphasis on the potentially more unsettling idea of constant change.

Ben Wiedel - Kaufmann has recently suggested that the Situation - type painting produced in Britain in the 60s could be worth comparing to Brazilian neoconcretism.2 The juxtaposition of Annesley and Oiticica at Waddington Custot suggests that an exploration of the similarities and differences between new generation sculpture and neoconcretism could be even more fruitful.

The strength of the Prado's collection of El Greco paintings alone suggests it will be an excellent show, but its prelude, opening at the end of March, will perhaps offer a more interesting perspective on the artist.

You come out of a bit of a painting history; gesture; hints of constructive; a kind of record keeping; painting that pays attention to relationship more than heroics, though the mark and scale suggests that's where you were initially coming from?

There is not much doubt that American painting of one or more kinds played a formative role in his development, but it would be oversimplifying to suggest that either one or the other kind was the exclusive source for his inspiration.

Titled by date, Lobdell's linear quasi-notational markings suggest petroglyphs and pictographs ---- more excavation than topography, as well as biomorphic shapes drawn on or scratched into the paint, linking painting practice with prehistoric creative impulses.

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.

In the NY Times, Roberta Smith, writes a short essay on the state of contemporary painting in which she suggests not only that ranking art mediums and declaring some of them (like painting) dead is finally passé, but that painters are approaching the medium more freely than ever.

There's also a solid helping of funkier, more - organic - looking abstraction here — a veiny network of yellow and black lines by Daniel Reynolds, a brushy green canvas by Gregory Montreuil, a spooky painting in pesto green and light purple by Gail Fitzgerald that looks like some ghostly undersea creature (and suggests a miniature, low - key Sigmar Polke) and, probably my favorite work here, a square with a few barely there marks, whiffs of different colors by Roberta Allen.

And so as a point of reference within the doodle - prone, dimension - swelling domain of Briggs» art I would direct the skeptical spectators» eyes toward the relatively simple Delft - tile crossed with sundial image of Blue Boy, and suggest that it is the baseline against which more aggressively Baroque caprices such as Painting Pirouette, with its bulges and wrinkles and folds, be judged.