Sentences with phrase «wall paintings begin»

Her white wall paintings begin with the artist taking close - up photographs of an empty white wall.

Not exact matches

Even before the mural was complete, it suffered from damage as paint began to flake off the wall.

Pictures painted on the walls of my womb began to emerge» (The Mother's Songs: Images of God the Mother [Paulist Press, 1986], p. 67) She discovered the Great Mother in the awesome beauty of the desert, brooding over a world still in the process of being born.

About 25,000 years ago, humans began painting a curious creature on the walls of European caves.

1961: First excavations begin under Mellaart's leadership, quickly uncovering a wealth of wall paintings, burials, figurines and ornamental livestock skulls called bucrania.

Beginning some 9,500 years ago, in roughly 7500 B.C., and continuing for nearly two millennia, people came together at Çatalhöyük to build hundreds of tightly clustered mud - brick houses, burying their dead beneath the floors and adorning the walls with paintings, livestock skulls and plaster reliefs.

I had been moving right along with the living room transformation beginning with the wall color, painted furniture, slipcovers and... Read More

Start with a nice clean wall - ours were painted about 6 months ago but something older may need a wash with sugar soap to begin.

It all began with the wall color, the same tan tone I have in my living room with a Valspar Brushed Pearl Finish painted over that base color.

Some of the superheroes who will be introduced to the viewing audience include Peter Petrelli, an almost 30 - something male nurse who suspects he might be able to fly, Isaac Mendez, a 28 - year - old junkie who has the ability to paint images of the future when he is high, Niki Sanders, a 33 - year - old Las Vegas showgirl who begins seeing strange things in mirrors, Hiro Nakamura, a 24 - year - old Japanese comic - book geek who literally makes time stand still, D.L. Hawkins, a 31 - year - old inmate who can walk through walls, Matt Parkman, a beat cop who can hear other people's thoughts, and Claire Bennet, a 17 - year - old cheerleader who defies death at every turn.

As we began our work in the house, we encountered several obstacles: lead paint, asbestos, a crumbling crawlspace wall, makeshift framing, sloping floors, leaky roofs, and improper electrical and plumbing.

In August 2007, a few months after Moss returned from New York City, her students began transforming their storm - damaged classroom — a huge 40 - foot - by -80-foot room with 15 - foot - high walls painted an institutional blue.

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When you begin peeling back the layers of this nearly 500 - year - old city, a textural paradise reveals itself ⎯ down every cobblestone street and through the cracked coats of paints covering the crumbling walls.

Taking the dilute shadow mixture, I begin painting the shadows cast by the shutters onto the walls and under the edges of the tiles.

«The beginning of the «Wall of Light» paintings came when I was sitting on a beach in Mexico in Zihuatanejo.

Beginning with Flag (1954 - 55), the seminal work in «Something Resembling Truth» at The Broad, Johns» flags, targets and maps are all paintings of things that are inherently flat, rectangular, and often hang on the wall like a painting.

The extension of a black band of textured tape (crushed glass added grit) across the edge where the painting ends and the wall begins shows a disdain for boundaries comparable to Frank Stella's treatment of the shaped canvas.

Beginning in 1961 with Untitled (DSS 25) he began producing three - dimensional wall mounted reliefs and the first example was constructed from oil and sand painted plywood with a concave upper and lower edge made from galvanized iron.

The Wall, the painting that began the series, at first appears to present a scene at the Western Wall (also known as the Wailing Wall), an important site of religious pilgrimage located in Jerusalem.

To produce these paintings Richter begins by placing a number of white primed canvases around the walls of his studio, eventually working on several of them simultaneously and re-working them until they are completely harmonized.

Fontana's best - known works are the aforementioned slash paintings, but beginning in the late»40s he made what artists 50 years later called installation art, using neon lights, colored glass, metal sheets, and painted walls.

At the end of the Cold War and the beginning of reunification, he created a series of paintings that feature stark, stenciled images of wooden turrets typical of the guard stations found in concentration camps or along the walls that separated east from west for so long.

He began by quoting Martin Kippenberger, who asserted in 1990, «simply to hang a painting on the wall and say that it's art is dreadful.

Begun in 2008, Black Dada is a conceptual paradigm for a body of work, which includes ideas, paintings, sculptures, wall works, videos, a manifesto, and a reader.

Taking its title from the name of a fictional, post-iPhone device at the centre of Gary Shteyngart's 2010 near - future novel Super Sad True Love Story, Äppärät is concerned with labor, play and the uncertain zone between the two; with the extension of the body, and the self, through technologies ancient and contemporary; with things (to borrow Martin Heidegger's formulation) «present - at» and «ready - to» hand; with compulsion and with death Äppärät begins with Jessie Flood - Paddock's Just Loom (2015), a wall painting - cum - sculpture based on an illustration of a worker operating a loom from Denis Diderot's Encyclopédie (1751 - 72), one of the first attempts to record and systematize all human knowledge in published form.

It begins with a rather imposing 1968 painting of orange markings on polymer - coated fabric, drawn from MoMA's collection, which cascades down the wall and rolls out toward the middle of the floor.

Thus began the artist's commitment to «painting as wall and on wall.»

By the mid-fifties, Twombly had begun to create paintings that looked like scribbles in a notebook or graffiti on a wall.

In the 1950s he began producing large numbers of stabiles — large - scale constructions made from cut and painted metal sheets — and simultaneously explored new forms such as Towers (wall - based wire constructions with moving elements) and Gongs (sound - producing metal pieces).

In 1968, he created the «V» series of lithographs, which included the print Quathlamba I. Following a solo exhibition at the Museum of Modern Art in 1970, Stella began working in three dimensions, adding relief elements to paintings, which could almost be considered wall - mounted sculptures.

According to the artist, the broken plate paintings begun in 1978 were inspired by the Spanish visionary architect Antonio Gaudi who imbedded bits of glass and crockery into the plaster walls of his buildings.

by Alan Feuer Boston Globe, Nov. 16, Intimacy of attention paid in close up by Sebastian Smee Brooklyn Daily Eagle, Nov. 16, «Visions of an American Dreamland:» New book and Brooklyn Museum exhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Right Up!

Overstreet said, «I was beginning to look at my art in a different light, not as protest, but as a statement about people... By 1970 I had broken free from notions that paintings had to be on the wall in rectangular shapes.»

This was the beginning of a period of expropriation in which philosophical texts were reproduced as paintings, published in books and magazines, or hung directly on gallery walls for hapless viewers to plough through.

Antiques and The Arts Weekly, Nov. 18, Historic John Trumbull Paintings Go Up At Wadsworth Atheneum Hartford Business Journal, Nov. 7, Loughman aims to reconnect Wadsworth to community by John Stearns New York Times Style Magazine, Oct. 20, The Renaissance Artifact Collections That Are Back in Style by Gisela Williams Boston Globe, Oct. 17, Face to face with «The Old Man and Death» by Sebastian Smee Hartford Courant, Oct. 13, Sky Dives, Space Travel Subject of Dulce Chacón's «Fallen Angels» At Wadsworth by Susan Dunne Hartford Courant, Oct. 13 Artists Define Their Femininity In Bruce, Wadsworth Exhibits by Susan Dunne CTNow, Oct. 2, Wadsworth Splendor IX Gala by Alex Syphers Hartford Courant, Sep. 19, Photography Exhibits At Atheneum, Real Art Ways, Lyman Allyn by Susan Sunne Hartford Courant, Aug. 21, Wadsworth Atheneum Begins Free Admission For Hartford Residents by Susan Dunne Hartford Courant, June 14, Wadsworth Atheneum Exhibit Confronts Violence Against African - Americans by Susan Dunne WPKN, May 28, Live Culture with Martha Willette Lewis Episode 15 featuring Vanessa German The New York Times, April 15, Gothic to Goth: Exploring the Impact of the Romantic Era in Fashion by Susan Hodara The Wall Street Journal, April 5, «Gothic to Goth: Romantic Era Fashion & Its Legacy» Review by Laura Jacobs Hartford Courant, March 24, Wadsworth's «Gothic to Goth» Celebrates Romantic - Era Fashion by Susan Dunne The New York Times, March 10, Poets Give Voice to Art in «Sound & Sense» at Wadsworth Museum by Susan Hodara Vogue, March 4, A New Exhibition Shows How Fall's Goth-Fest Has Roots in 19th - Century Romanticism, by Laird Borrelli - Persson The New York Times, Jan. 24, Evening Hours Celebrating the Winter Antiques Show by Bill Cunningham The New York Times, Jan. 22, Winter Antiques Show Offers a Collection of Recent and Rare Works by Roberta Smith New York Social Diary, Jan. 22, Part of the Art The Boston Globe, Jan. 21, Porcelain mastery is in delicate details by Sebastian Smee InCollect, Jan. 15, The Winter Antiques Show Loan Exhibition: Legacy for the Future: The Wadsworth Atheneum Museum of Art by Robin Jaffee Frank The Magazine Antiques, Winter 2016, Sound and vision: Poetry and American art by Alyce Perry Englund The Magazine Antiques, Winter 2016, Meeting Ground by Patricia Hickson The Magazine Antiques, Winter 2016, OMG indeed!

A crowd of 13 spectators huddled around a painting, Njideka Akunyili Crosby's «And We Begin to Let Go,» hung on the dimly lit wall of the Hammer gallery.

In 1959, he began to increase the scale of his work, creating massive paintings of small, thick gestures that covered the wall - sized

As in classical Chinese painting, the perspective of the café is suspended, and the viewer can no longer determine where the floor ends and the wall begins.

By the 1980s however Scully began to experiment with the formal constraints of painting, creating sculptural works where the stripe expanded to become a building block, ultimately paving the way to the artist's celebrated Wall of Light paintings of the 1990s.

The exhibition begins with a recreation of a seminal wall mural from 1986, as well as a number of the artist's monochromatic paintings, including an important gray painting from 1973 featuring undecipherable text and a monumental gray grid painting from 2009 that the artist layered over one of his vibrant Spot Ppaintings, including an important gray painting from 1973 featuring undecipherable text and a monumental gray grid painting from 2009 that the artist layered over one of his vibrant Spot PaintingsPaintings.

I have also recently begun to paint abstract nature studies on wall - mounted metal platforms.»

He began to make paintings without stretchers in 1968, suspending and draping colour - stained canvases from walls, ceilings, and sawhorses.

He began building his works so that they would project off the wall, combining illusionistic painted space with real space.

And yet Owens began her paintings more than twenty years ago, and she and the walls are still on the move.

For four months beginning in May, an immersive mural painting by Minerva Cuevas, a conceptual and socially engaged artist from Mexico, will cover the walls and ceiling of the Museum's Concourse.

«One of the goals behind Vitality and Verve is to spotlight artists who are stepping out of their studios to paint on a grand scale using outdoor walls as their canvas as well as urban artists who are beginning to work in a traditional studio setting.»

From 1991, Stingel began making «carpets» with which he often covers entire spaces, including walls: it is a non-painting that crosses the limit — also conceptual - of what a painting is, and becomes an environment.

«36 Ways a Dice can Roll / Dice» begins with paintings made upon a wall.

In late autumn, after he had finished the London project, Zhang went to Genoa, Italy, where he made contact with the medieval era, and began painting leaves and branches on the dome and walls of the Museo d'Arte Contemporanea di Villa Croce.