The combination of unprimed canvas,
synthetic paint mediums and techniques such as staining made it possible for them to paint in new ways, sometimes without a brush, to achieve the desired effects.
Not exact matches
DAVID ALTMEJD The Swarm 2011 Plexiglas, chain, metal wire, thread, acrylic
paint, epoxy resin, epoxy clay, acrylic gel, granular
medium,
synthetic hair, plaster, foam, sand, quartz, pyrite, amethyst, assorted minerals, adhesive, wire, pins, needles 102 1/2 x 244 x 84 1/2 inches (260.4 x 619.8 x 214.6 cm) ARG # AD2011 - 003
He then used
paint pouring as one of several techniques on canvases, such as «Male and Female» and «Composition with Pouring I.» After his move to Springs, he began
painting with his canvases laid out on the studio floor, and he developed what was later called his «drip» technique, turning to
synthetic resin - based
paints called alkyd enamels, which, at that time, was a novel
medium.
Extending across the entirety of the museum, the exhibition allows for free association between artists and the themes they address: at once playful and dynamic, works from Ryan Gander, Institute for New Feeling, Liu Wa, and Yangzi invite audiences to explore a wealth of possibilities through combinations of meditation and wry humor; classical
mediums of sculpture and
painting are reinvented by Yngve Holen and Austin Lee; insidious implications of our hi - tech society are skewered by Lawrence Abu Hamdan and aaajiao; the powers of
synthetic materials over human desire are brought to the fore by Sean Raspet and Pamela Rosenkranz; and products of Internet culture are given to refined study with Gillian Wearing and Amalia Ulman.