Sentences with phrase «tubes of paint as»

The scene is an artist's studio mocked up in rickety plywood, with enormous brushes and tubes of paint as big as Claes Oldenburg sculptures.

Not exact matches

If he tries to do so, he might quite easily be as foolish as a man attempting to determine the pattern of a carpet from examination of a single thread, a picture from a tube of paint, or a book from a box of assorted type.

As soon as I turned 13, she presented me with my first tube of cherry - red lipstick and my first pair of high heels — three - inch heels they were in those days, and I thought them not only uncomfortable but incredibly hideous — and from then on made me go to church thus shod and painted, indistinguishable from the other eighth - graders whose arms hadn't had to be twisteAs soon as I turned 13, she presented me with my first tube of cherry - red lipstick and my first pair of high heels — three - inch heels they were in those days, and I thought them not only uncomfortable but incredibly hideous — and from then on made me go to church thus shod and painted, indistinguishable from the other eighth - graders whose arms hadn't had to be twisteas I turned 13, she presented me with my first tube of cherry - red lipstick and my first pair of high heels — three - inch heels they were in those days, and I thought them not only uncomfortable but incredibly hideous — and from then on made me go to church thus shod and painted, indistinguishable from the other eighth - graders whose arms hadn't had to be twisted.

I used a piece of the scrap plastic to put my paint on as well as the tube while it dried.

Basic techniques in oil painting are widely available on the internet as tutorials (You Tube is great for these), you can buy DVD's and your local art society would be a rich source of advice and support.

Leigh depicts the procedures in exacting detail, but also with great discretion, as though Chardin had painted the implements Vera uses - a syringe, rubber tubing, a grater, a bar of soap, and a basin of water - arranged on a bed, in a still life.

Danny Boyle paints with too broad a brush by saying cinema is going down the tubes because of its «Pixarification,» or he simply chooses to ignore all of the recent films that serve to prove his point as faulty.

When the museum was unveiled in 1977, some hailed it as a breathtaking architectural achievement; others likened its façade of exposed steel trusses, painted pipes, and glass tubing to an oil refinery.

However, the focus remains on discovery; players must do much more than slaughter legions of zombies, such as enabling an escape - tube network, powering up generators, unlocking a weapon power - up station, finding clues hidden in paintings, and more.

It's so hard for me to get out of «have money, spend money» mode... Especially when the paint tubes run low... But the idea of paying myself a salary isn't bad, as well as sticking to a budget (two people can absolutely live on $ 100 / month... it has to be possible!)

Layers of abstract marks bear the traces of their making as paint is directly applied from the tube, weaving together to create dense, intricate topographies.

Using light as a conceptual manifestation of the physicality of paint itself, works such as Three Fluorescent Tubes (fluorescent lights, 1963) and Alternate Diagonals of March 2, 1964 (for Don Judd)(daylight fluorescent lights, 1964) are particularly important for their connection to Russian Constructivism, a movement that influenced the Minimalists by its favoring of integrated production and industrial materials over the conventional approaches of traditional sculptural impulses.

With black spray paint, florescent tubes, and the bus's display of loudspeaker cones and their chrome housing, he even matches the color scheme of Banks Violette, as in his memorial to Dash Snow.

Maybe every artist wishes paint looked as good as right out of the tube.

They remind me, in fact, of Stella's quip that he only wanted to make his paints look as good as when just squeezed from the tube.

Works on paper most often have the texture of spray paint and a horizon line, much as drawings collected by Dan Flavin connect his fluorescent tubes to Hudson River light.

Many of these changes were influenced by technological advances, such as the invention of the metal paint tube and photography, as well as changes in social conventions, politics, and philosophy, along with major world events.

As Thierry de Duve has shown, much of Duchamp's work — including his abandonment of painting — followed from the recognition that the can or tube of paint had long been a readymade, industrially produced commodity like any other.10 As Duchamp remarked in 1961, specifically addressing Rauschenberg among others: «Since the tubes of paint used by the artist are manufactured and readymade products, we must conclude that all the paintings in the world are «Readymades aided» — and also works of assemblage.»

Jonathan Lasker recalls the dream of making paint look as good as it does fresh out of the tube.

Corrupted patterns and broken swirls will translate into inner tubes for Gareth James, a floral curtain for Simon Starling, a lattice of paint strips for Cheyney Thompson, and canvas as wallpaper for Annette Kelm.

Scribbled paint strokes blur the punchlines of comics, drips of white paint collide with a thick red line squeezed right from the paint tube, and bits of headlines such as «Dandruff may be the beginning of baldness» jump out amid abstract patches of pink, red, and yellow.

Benches with power - tools, industrial vacuum cleaners, cans and drums of oil, hubcaps, looping wires and tubing, buckets and detritus are painted in profusion, as they were last placed by their operatives.

From the Sun to Zürich, 2016, anchors the installation: it is among the largest examples from the series of painted steel tube sculptures Bove refers to as «glyphs,» whose curving forms could alternately suggest a cosmological spiral, an ancient hieroglyphic language, or a wayward noodle.

These consist of crushed metal (sourced from new industrial steel tubing, the cutting - room floor parts of previous works, or found scrap metal) with surfaces that are either left as - is — in the case of the raw, rusted found pieces — or painted with light - absorbing, velvety car paint.

[9] Critic and pop singer Momus described Tuberama as «the musical of the short story of the cartoon strip of the painting, is about sitting on the tube and feeling paranoid about the people opposite you: who would be their leader if the train broke down for a week?»

These tubes disrupt the notion of tableau in art and disorient the viewer: Should the works be framed mentally as paintings, sculptures, faces, or all three at once?

Thousands of tiny white LEDs may resemble a starry night as seen in a planetarium, while tubes of colored LEDs masked by a diffuser are like a Monet painting of water lilies set in motion.

These collaged elements — along with images of pillows and a detail from a Baroque relief — are sealed within a clear Plexiglas casing that acts as a support for the surprising array of three - dimensional objects suspended from the work's surface, ranging from tin cans and a spent tube of paint to assorted empty plastic tubes and salvaged wooden chair rungs.

If the previous generation wanted paint to look as good as fresh out of the tube, Murray could be squeezing a toothpaste tube.

Painting on sheets of plastic, on the floor, and on clear plastic tubes, to create installations where one is engaged in a continually changing relationship to the image / painting / object, as she put it one experiences «movement and durationPainting on sheets of plastic, on the floor, and on clear plastic tubes, to create installations where one is engaged in a continually changing relationship to the image / painting / object, as she put it one experiences «movement and durationpainting / object, as she put it one experiences «movement and duration».

Conaty, who worked at the Whitney at the time of the Biennial and has therefore been familiar with the modular works for some time, found these motivations revelatory, and they serve as the basis for her catalogue essay, which examines his palette and use of readymade color — vinyls or unmixed tube paints — as a through line for works made using vastly different techniques.

The title of the piece refers to a metal table in the kitchen of Freilicher's East Village apartment that she used as a palette (the taches of paint are in the central foreground) with jars and coffee cans holding about nine brushes and tubes of paint in some disorder.

It is the fabulous balance of red and white squares in a Malevich gouache, or the glowing sheaves of fluorescent tubes in a Dan Flavin sculpture; it is Hélio Oiticica's black and white rectangles swing - dancing across a painted board, and Sophie Taeuber - Arp's cross-stitch embroidery of circles and triangles holding hands, as it seems, with a big scarlet square.

Albers never used masking tape as an aid for painting his edges, and he applied only one layer of paint to his works, from tube to panel, without modification or amendment.

He has been quoted as saying that he used such diluted paint in the airbrush that all eight of the paintings were made with a single tube of Mars Black acrylic.

His sculptures — geometric wall objects, façade - like reliefs, objects and sculptures created from abstract stereometric bodies which take the form of cubes, angles, columns, pedestals, podiums, movable walls and shelving — are made of cheap no - frills materials such as particle board, cardboard, linen, molton, Styrofoam, synthetic resin, emulsion paint, fluorescent tubes and other everyday building materials.

Categorized against his will as a Minimalist or Abstract Expressionist, Flavin is best known for his unembellished, rationalistic displays of light - tubes, often shown in gigantic installations that sought to invigorate dead spaces or voids by painting them with the medium of light.

Chris Caccamise makes painted - cardboard models of used consumer products (a squeezed tube of toothpaste is one) as well as happy rainbows, clouds, and other items more usually associated with nursery decor.

In answer to questions about an artwork's appearance they created newfangled forms, such as Donald Judd's early wall objects in 1962, which were neither paintings nor sculptures; or Dan Flavin, who opted for fluorescent tubing instead of conventional painting or sculpting media; or Fred Sandback, who saw the partition of a space as a sculpture; or Michael Asher, who intervened in the material conditions of the exhibition space; or indeed Lawrence Weiner, who described his works in a range of materials linguistically.

There are several new acquisitions that incorporate light, such as Vernon Fisher's The Coriolis Effect, 1987 for which the green glow of a spiraling florescent tube sitting above the panel surface suggests the painting's title and offers an ominous presence that enhances the narrative text.

Among these are several small paintings with elements that look as though they were drawn by squeezing tubes of acrylic paint directly onto the canvas.

A brush and tube of paint are now fossilised; frozen in time to be seen as a way of the past.

Among these will be «The Floor I (Studio - floor from Mosfellsbaer, Iceland)» from 1973 to 1992; a series of wall - mounted works form the 1980s comprised of such at - hand materials as toys, sweets, tools, refuse, and dead insects in plastic tubes; and key works from the «Tischtücher» series of paintings made in the late 1980s and early 1990s from used tablecloths.

Wheeler subsequently abandoned canvas altogether with a body of innovative, radiant works known as «fabricated light paintings» in which he applied lacquer to Plexiglas boxes that were illuminated from within by neon tubing.

VIERIA»S FIRST SOLO exhibition, in 2006 at Small A Projects in Portland, Ore., featured ink drawings that reference passages from 18th - century historical paintings by artists such as Hubert Robert, Platonic installation of geometric forms, paper tube sculptures resembling columns and striped works on paper evoking early versions of the American flag as allusions to the American revolution.

As it is, the best paintings in the show are the least dependent on citation: in a set of gloriously luminous works, depicted light is confronted with the literal light of bent neon tubes that Mary Weatherford has stretched like drawn lines across the canvas.

An addition to that statement is the very method Ivan Alifan uses in order to apply the paint; he is squeezing the paint out of the tube as if adding the topping onto the cake.