Sentences with phrase «thing after we painted»

Not exact matches

As Joseph Epstein recently observed, after Andy Warhol, serious people no longer need pay attention to it: «Contemporary visual art, perhaps for the first time in the history of painting and sculpture, is one of those things a cultured person no longer has to know.»

i made a handprint had it in for 3 hours took it out let it cool off then i painted it, after painting it the thing seems not hard now will it be ok to bake it again with the paint on it to see if it hardens up

UM's 4 games thus far have been: solid opening win; buzzer - beater walkoff after mostly being outplayed all game; no - doubt rout that was over by halftime; and a nail - biter of a grind where they couldn't hit a damn thing outside the paint despite plenty of wide open looks.

Their 4 games thus far have been: solid opening win; buzzer - beater walkoff after mostly being outplayed all game; unmitigated rout that was over by halftime; and a nailbiter of a grind where they couldn't hit a damn thing outside the paint despite plenty of wide open looks.

Searching through our drawers and closets, I found LOTS of freezer paper stenciled things, and am happy to say that after two years of wearing and washing, the paint had held up pretty well (I use the Jacquard Textile Color, found here).

After the fabric paint dries, you may use a black fabric paint to write cool things on the shirt such as `' my kids walk all over me».

I do want to encourage all mom's to take heart this Mother's Day: However you hold your baby, in your arms or in your heart...... Remember these things: You are MOM You are strong Love never dies You are brave for all you've endured Sunshine comes after the storm The rawness of grief will not last forever Mother's Day is a chance to remember Your baby will never be forgotten If you are looking for a way to celebrate Mother's Day as a bereaved Mom — or for a bereaved Mom you know — here are a few ideas: Plant a memory garden Meditate in nature Create a symbolic painting Start a new journal Write your...

My question is, should I paint, distress, polycrylic, then glaze or do I glaze after the distressing and then poly the whole thing.

The first thing I did, after cleaning, was to paint the frame with two coats of Maison Blanche Vintage Furniture paint in Wrought Iron.

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Also coming this week I'll show you a funny thing that happened to all of the chairs after I painted them with Annie Sloan Chalk Paint in Old White.

, All Things Willow Creek Tagged With: anthropologie inspired acid wash mirrors, beachy colors, bedroom redo, Behr Ultra Paint with Primer, Behr White Clay, blue bedroom, cottage bedroom, cottage decorating, decorating with vintage frames, decorating with vintage mirrors, master bedroom before and after, painting furniture, painting wood, redecorating a bedroom, shabby chic bedroom, shabby chic comforter, shabby chic decorating, shabby chic for Target, shabby chic for target bedding, white curtains

One of the first things we did after moving in was paint these walls and built - ins!

Things look so fresh and clean after they are painted!

The endearing Chip and Joanna Gaines run a By John Shearer Painting Contractor 206-431-3606 June 15, 2003 After a big prep intensive paint job, blisters and bubbles are THE last things you want to

After the pay - off goes wrong, Creasy vows to take revenge on all those who have contributed to Pita's death, turning to Federal Investigations chief Manzano (Giancarlo Giannini) and upright journalist Mariana (Rachel Ticotin) to guide him through all the sleaze and corruption — and, being an ex-assassin for the CIA, Creasy knows a thing or two about the business of killing — or, as his friend Raymond (Christopher Walken) puts it, «Creasy's art is death; he's about to paint his masterpiece».

After the overly - broad mis - step that was The Descendants, Payne dials things back, paints literally in black and white, and conjures up something special as a result.

Once in the backwoods, Melanie: reunites with sour Ma (Mary Kay Place) and dour Pa (Fred Ward), both actors modeling their characters on Grant Wood's necessarily two - dimensional painting «American Gothic»; «outs» poor Bobby Ray (Ethan Embry)-- in the real world, they'd probably have been hung from the same pole flying the Confederate Flag outside the local watering hole; and delivers the most embarrassing monologue since Phoebe Cates's in Gremlins to, of all things, a license plate marking the burial spot of a «coon dog» named after legendary Crimson Tide coach Paul «Bear» Bryant.

And with Tom Hooper behind the camera shooting things in the most pedestrian way possible (a hallmark of his after films like The King's Speech and Les Miserables), only every now and then spicing things up with the way he frames Gerda painting from behind the canvas, there is not much to distract from the issues at the core of the film.

I keep thinking that things stated to go bad for the velvet paintings business after the 1979 release of the movie «The Inlaws» which featured a South American dictator that had the world's greatest collection of Tijuana velvet paintings.

Plus, after you have a written plan you will find small things to change that are both economically feasible and high value for your happiness, i.e. painting a room or two, putting in a newer thermostat, changing out some of the carpet or getting a rug to spruce up a room, buying a new microwave, do - it - yourself light landscaping, etc..

Most likely your kids won't regularly ask you to paint (although they may start to after practicing these five things), so if you don't promote it they won't know what they're missing.

, I am scratching my head everyday on how to sell after building a good collection of diverse creations the past 3 years and after trying fairs, boutique, artisan markets, etc... My work is very versatile from up - cycling clothes, accessories and objects, jewelry, crafts, writing, home educational models, photography and mainly PAINTING on every things!

After all, a painting is made of paint, and Benton is one of those painters who seem to be trying to overcome that as though that were an unfortunate drawback, Sometimes avant garde people say things like that, like Donald Judd who's quoted as saying that the trouble with a painting is it has four corners and it's flat on the wall or something like that, or that it's mounted on stretchers or it hangs up.

Haynes, on the other hand, after making paintings for years out of all sorts of things, now makes paintings which are affirmations rather than negations of the medium and the way it works.

The math thing came about because of an experience I had seeing a Barnett Newman painting called «The Gate», at the Stedelijk Museum in Amsterdam just after graduate school in 1985.

Art Basel Miami Beach, with GAVLAK Los Angeles / Palm Beach, Miami, FL (catalogue) Ten Year Anniversary Show, Gavlak, Palm Beach, FL and Los Angeles, CA Re (a) d, curated by Ryan Steadman, Nathalie Karg Gallery, New York, NY The Valentine's Day Cardiovascular, Geoffrey Young Gallery, Great Barrington, MA Puente, KINMAN, London, UK 2014 The Go Between: Selections from the Ernesto Esposito Collection, Museo di Capodimonte, Naples, Italy Art Basel Miami Beach, Gavlak booth, Miami Beach, FL 100 Painters of Tomorrow: New York Exhibition, One Art Space, New York, NY Inaugural Exhibition, Gavlak, Los Angeles, CA The Armory Show, Gavlak Booth, Pier 94, New York NY Painting: A Love Story, Contemporary Arts Museum Houston, Houston, TX (catalogue) 2013 Art Basel Miami Beach, Gavlak Booth, Miami Beach, FL (catalogue) This is the Story of America, Brand New Gallery, Milan, Italy Rema Hort Mann Foundation LA Arts Initiative Auction, Hannah Hoffman Gallery, Los Angeles, CA Acid Summer, Curated by Matthew Craven, DCKT Contemporary, New York, NY All Fucking Summer, Gavlak, Palm Beach, FL Whitney Museum Art Party Benefit Auction, Whitney Museum of American Art, New York, NY MiArt2013, Gavlak Booth, Milan, Italy The Armory Show, Focus: USA, Gavlak Booth # 908, New York, NY (catalogue) Art Rotterdam, Office Baroque Gallery, Rotterdam, Netherlands My Echo, My Shadow, Gavlak, Palm Beach, FL 39 Great Jones, Galerie Eva Presenhuber, Zurich (catalogue) 239 Days, School of Visual Arts MFA Alumni Show, Allegra LaViola Gallery, New York, NY 2012 News From Chicago and New York City, Curated by Henning Strassburger, Fiebach Minninger, Cologne, Germany Time, After Time, Curated by ARTNESIA, Ronchini Gallery, London, UK (catalogue) SUNY New Paltz Alumni Show, Dosky Projects, Long Island City, NY What's the Point, Jen Bekman Gallery, New York, NY It's a Small, Small World, Curated by Marilyn Minter and Organized by Hennessy Youngman, Family Business, New York, NY The Virgins Show, Curated by Marilyn Minter, Family Business, New York, NY Just the Tip, SVA MFA Fine Arts Thesis Exhibition, Organized in Collaboration with Mike Egan, Visual Arts Gallery, New York, NY (catalogue) 2011 MFA Fine Arts Fall Open Studios, School of Visual Arts, New York, NY Sentimental Education, Gavlak, Palm Beach, FL Things Fall Apart, Curated by Asya Geisberg, Visual Arts Gallery, New York, NY Abstract Means, Curated by Richard Brooks, Visual Arts Gallery, New York, NY MFA Fine Arts Spring Open Studios, School of Visual Arts, New York, NY Celebrating 15 Years: Young Artists at Heckscher, Heckscher Museum of Art, Huntington, NY College Art Association New York MFA Exhibition, Hunter College / Times Square Gallery, New York, NY Vuu Collective W / S 2011 Show, K&K Gallery, Brooklyn, NY 2010 MFA Fine Arts Winter Open Studios, School of Visual Arts, New York, NY Emerge to be Seen, Westside Gallery, New York, NY Marks That Matter, Juried by Gillian Jagger, Muroff Kotler Visual Arts Gallery, SUNY Ulster, Stone Ridge, NY The New, Art (That Matters), Oyster Bay, NY New York Art & Culture Exhibition Series, Albany International Airport, Albany, NY 2009 No Girls Allowed: BFA Thesis Exhibition, Samuel Dorsky Museum of Art, SUNY New Paltz, New Paltz, NY Best of Show: 2009 Best of SUNY Exhibition, State University Plaza, Albany, NY 2008 Crit 3: Work from Students and Alumni of SUNY New Paltz, Curated by Kathy Goodell, Spencertown Art Gallery, Spencertown, NY Somewhere I Have Never Traveled, Smiley Art Gallery, New Paltz, NY Three, Smiley Art Gallery, New Paltz, NY SPECIAL PROJECTS 2013 Shinola x Andrew Brischler, Installation & Capsule Collection, Tribeca Flagship Store, New York, NY Converse Footwear for Publicolor, organized by Grey Area COLLECTIONS Norton Museum of Art, West Palm Beach, FL AWARDS AND HONORS 2015 Painting Fellowship, New York Foundation for the Arts

Perhaps, also, after years of less than average neo expressionist paintings, the real thing felt surprisingly strong and refreshing.

According to the artist's interpretation, this genre is throw back to the things which took place in ХХ - th century art: it is the» landscape of fantasy» after abstract painting, modern and postmodern philosophy, psychoanalysis.

But each of the artists» works are also about the misjudgment of a real environment — a real chair made out of special rope (Campana); a box made of terracotta and glaze (Cherubini); a lamp made out of found metal (Coolquitt); an abstract painting titled after a transsexual (Ferris); and collage, deceptively flat - looking, made from among other things, feather and beads (Alvarez).

There are hard - edge geometric paintings by Karl Benjamin, Lorser Feitelson, Frederick Hammersley and John McLaughlin called the Abstract Classicists after their 1959 show, as well as influential figurative artists like Rico Lebrun, who was, among other things, a teacher of Baldessari.

You'd think the curators would have some idea of what makes a painting — the museum is chock - full of the things, after all.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, LucPainting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, LucPainting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, LucPainting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, LucPainting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

I wanted to talk about how hope and joy needs to be designed back into things, how painting can help us do that, how we lost hope and faith after September 11th and the global economic crash.

AFTER ROELSTRAETE INTRODUCED the «master's» Garden Project series, standing in a gallery surrounded by the paintings, Marshall says, «The only thing I will add is that one of these paintings in here has an autobiographical dimension to it.

Work on the series began soon after the last call, with Tompkins stenciling or free - hand drawing phrases like Piece of Ass or The Only Thing That Would Make Her More Beautiful is My Dick In Her Mouth over imagery that includes lace, female body close - ups and ripped «old - boy painting» styles ranging from de Kooning to Pollock.

After a hectic week following painting the mural, we had a great response from local media and radio and the general public who have said they really liked that creative things were happening in Ealing.

He «discovers things» after he finishes a painting, doesn't «know much about it before or during...»»

Be Strong Boquan (after a line taken from a performance video that's featured in the show), is composed of large abstract paintings, the first thing you encounter is «Deimos» (2015), a Cinemascope - scaled video projection depicting enormous orange wheels careening across an unspecified expanse to the beat of Sylvester's 1978 disco anthem «Grateful.»

I'm obsessed with how color - fast archival things are, but those paintings still look good after 30, 40 years.

Two years after the devastating fire on his Florida property, Rosenquist completes the painting The Geometry of Fire (2011), a meditation on the destruction; «The title is ultimately nondescriptive, because there is no such thing as geometry in fire, it's just wild, totally reckless, an accidental illumination an immolation.

For the 1948 Venice Biennale — the first one after the war — the British Council decided to have just my sculpture and Turner paintings which was a very sensible thing.

«I thought my movie was going to be about happiness, but when I saw it finished, it turned out to be about joy,» she remarked after completing it, «the same things my paintings are about.»

- after two years copying Seurat's painting, Bridge of Courbevoie... I learned from Seurat this important thing about colour and light, that «a light» can be built from colour.

On the other hand, Pestoni's commitment to form as subject matter is so utterly complete that it achieves a kind of post-Post-Modern energy, the kind of thing painting vomited up after it ate its own tail several times over.

I thought the R - Value paintings opened things up after that.

One thing that I've always thought about my paintings, regardless of how similar they look after they're done, my opinion about them when I'm working on them is that there's very little carry - over from one painting to the next, each painting is closer to starting over from scratch than any of the other painters in that aesthetic grouping that we're talking about.

In works made after 1969 Guston renounced his previous interest in abstraction in favour of «a world of tangible things, images, subjects, stories like the way art always was» («Philip Guston Talking», Philip Guston Paintings 1969 — 80, exhibition catalogue, Whitechapel Art Gallery, October — December 1982, p. 50).

One thing that often strikes me about Terry Winters is that a painting might have a seemingly - simple first read, perhaps two or three main color chords, and after a while the presence of a small amount of a fourth or fifth tone, one that wouldn't seem to fit, influences the tonality of the whole painting, giving it a slightly dissonant buzz.

I think this is a new time in abstract painting, after irony, cynicism, appropriation, and other ideas have just worn away, and women are there with the ambition to make things new.