Sentences with phrase «what scale the painting»

It's clearly understandable that no matter what scale the painting is, each line references her thoughts.

Not exact matches

What to register for Make an easy receiving blanket Brace yourself: the zero to ten scale Go to the theater where crying is allowed Decorate baby clothes with fabric paint Sew a quick newborn hat from a t - shirt About Us Timestamp a monthly baby photo Make baby food Do it yourself: the easiest baby shower gift ever

What little we do know is that Autism is a massive, massive scale and you can't paint it with the same stroke.

Hunter writes: «In the show, twelve recent, mostly large - scale, conventionally stretched works share fast - looking brush strokes; few visible layers of oil or acrylic; a graphic, flat appearance that emphasizes surface; and the impression — confirmed in the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.»

Very small pictures, if painted by gifted artists and installed in an adequate version of what Dave Hickey once dubbed a «clean, well - lighted place,» can produce exhibitions just as ambitious and adventurous as larger - scale projects... these canvases address significant issues related to their respective genres while averaging little more than a square foot apiece.»

Rassin's specialty is large scale oil paintings and fashion; transforming his artwork into what is wearable, beautiful art that is practical and lavish at the same time.

In his most recent exhibition Queens of the Undead at the Institute of International Visual Arts — Iniva, in London, Donkor presented four of these highly regarded heroic women: «Queen Njinga Mbandi who led her armies against the Portuguese empire in Angola; Harriet Tubman, the underground - railroad leader who freed 70 people from US slavery in the 1850s; Queen Nanny who led the Maroon guerillas in Jamaica that fought the British in the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontations.

Viewers will be able to see pieces ranging from her early paintings inspired by the use of LSD to later works such as her «What It's Like What It Is # 3» (1991), a large scale mixed media installation addressing racist stereotypes.

Continuing the Warholian reference, on show will be a series of large scale unique silkscreened portraits of the artist as Che Guevara, Joseph Beuys, Elvis Presley amongst others, as well as works based on Warhol's urine oxidation paintings, abstract works made by pissing on copper metallic painted canvas Turk takes a Gestalt approach to cliché and iconic imagery subverting our sense of what we think we are seeing.

We're showing Wolfe von Lenkiewicz's celebrated large - scale paintings which combine what we expect to see with what we never could have seen before, cubist Samurai for instance, or The Hay Wain, not by Constable but Pieter Bruegel.

While his work bears similarities to that of American abstract expressionist painters such as Mark Rothko, Jules Olitski and Barnett Newman, Hoyland was keen to avoid what he called the «cul - de-sac» of Rothko's formalism and the erasure of all self and subject matter in painting as championed by the American critic Clement Greenberg.1 The paintings on show here exhibit Hoyland's equal emphasis on emotion, human scale, the visibility of the art - making process and the conception of a painting as the product of an individual and a time.

Revisiting an idea he first employed in his late - seventies project «128 Photographs of a Painting», he divided the work's surface into two vertical sections, then halved those halves, and so on, he had each work printed to his desired scale, so that we might contemplate what have become remarkable horizontal, rhythmic fields of fine lines, oscillating with vibrations of color, the largest of which stretches over ten meters, as seen on the gallery's first floor.

In the scale of values implicit here, having fantastical clothes is more artistic than playacting masculinity, but still the question is raised: Who and what could painting possibly be for?

What the National Gallery has done instead is bring together a host of minor works — botanical paintings, landscapes, scaled - down copies — alongside others by the likes of Cézanne, Renoir and even Kandinsky.

What I meant by that ending statement is that, after many years as an artist, having these accumulated experiences allowed me to have the knowhow to make a large painting on the scale of Amistad América.

«10:30 am» (2006)-- Elements of this large - scale work demonstrate what Katz calls «environmental» painting.

She also turns to paper on much the same scale, in what is hard not to call painting.

How did these paintings come to be, and what were you thinking about in terms of going from drawings to very large - scale paintings with these ideas?

WHAT SHE MAKES: Large - scale paintings that mix traditional oil painting techniques with silkscreened images composited digitally from photo - editing software.

His large - scale paintings, drawings, prints, and sculpture blended Native Northwest culture with images influenced by art around the world, in the process challenging traditional notions of what Native art could look like, probing how art intersected with colonization, trauma, and identity.

Robert Storr: What was your relationship to the kind of painting that was being done when you entered the scene in the 1950s — to use Greenberg's term, «American - type painting,» by which he meant a certain kind of reach, a certain scale?

What / Why: «Blurring the boundaries between sculpture, installation and painting, Sarah Sze builds intricate landscapes from the ordinary minutiae of everyday life, yet on a grand architectural scale.

She is responsible for large scale prints, drawings and paintings that are based on heavy layering in order to create images from patterns and architectural photographs — although the end result does not give away what Mehretu used to start creating.

The exhibition includes more than 40 paintings and works on paper, ranging from the monumentally scaled mixed media on canvas Anything To Fill In The Long Silences, 1998 and Where Speech Could Have Been Transcribed, 2001, to intimately scaled paintings on paper from the 2000 series «What Makes a Writer Great.»

The Städel may be small compared to many museums with holdings of a similar quality, but it has what Hollein calls «an encyclopaedic spine» and, particularly since the museum agreed permanent loans from the Deutsche Bank Collection in 2008, it tells a very good story about German painting over 700 years — whether you're interested in medieval paradise - garden paintings or large - scale works by Anselm Kiefer.

It is amazing what human presence adds to a painting regardless how small scale the figure is.

What wins the day, in addition to the surfaces, is the scale of these paintings, which suggests that the artist wants to bring his motifs to the canvases» edge and beyond.

She began working on large - scale oil paintings containing expressive gestural brushwork that foretold what would become her signature voice.

Running counter to what he perceives as a tendency toward embellishment, his photographic series The Geometry of Color, on view at Lehmann Maupin in New York, depicts simple yet vibrant large - scale geometric wall paintings.

What is most surprising about Sean Scully's abstract images composed of stripes and squares of colour is not their considerable emotional power, but the fact that the most delicate watercolours or tiniest etchings can evoke a mood just as well as the large - scale oil paintings.

This would be a distortion of their meaning, since the pictures are intimate and intense, and are the opposite of what is decorative; and have been painted in a scale of normal living rather than an institutional scale.

In the 1970s, attempting to free himself from what had become a signature style, Loving began destroying his hard - edged cube paintings and stitching the torn strips of canvas together to create large - scale, brightly colored geometric compositions, an action that echoed the quilting he had studied as a child.

This is partly why I work on larger works at the same time; it makes me look and paint on a different scale, which makes it harder to just become comfortable with one size and therefore disrupts the likelihood of copying what you may have done in previous works.»

Of all its shows this year, each of which could have its own entry here, I was most entranced by the amazing suite of Alex Katz's towering, panoramic flower paintings, which confirmed what 356's inaugural presentation of Laura Owens's work had already suggested: This is the best room I have ever viewed large - scale paintings in, period.

They were all small — what the Americans called easel - scale painting — with the exception of Georges Mathieu who was the only painter who worked large scale.

It's one thing to grant Ellsworth Kelly and Jasper Johns this status, but I remember vividly the large - scale paintings of Donald Baechler, enfant terrible, in what many writers called the «kids» room» at the notorious Whitney Biennial of 1989 (Mike Kelley was another denizen of that particularly raucous sector of the show).

What I mean by this is that each painting, in the end, always incorporates the scale of a hand's movement in the act of making.

Chantal Joffe RA talks about the painting process, her influences, and what it's like to make figurative art on a large scale.

In the video below, Chantal Joffe talks about the painting process, her influences, and what it's like to make figurative art on a large scale.

PC: I want to ask you what may be one of the most obvious questions: since you've painted so many large paintings, do you differentiate greatly between size and scale?

For all these references to the scrappy history of conceptual wall art (not to mention the plaintive Willie Nelson song from which it draws its title), «Hello Walls» is ultimately a show that's tailored to the current moment in Chelsea — which is to say, some of its wall paintings find artists doing what they normally do on an inflated scale.

Her large, gray - scale paintings and drawings have the power to both shock and titillate, but that's not what she's showing in her word - based work at the Flag.

With drawings, paintings, photographs, scale models and a full - size camper sculpture towed by a three - speed bicycle, Cyr explores what it means to be autonomous or an adventurer.

He explored these possibilities by creating large - scale paintings thwarting expectations and academic assumptions on what a painting should look like, be about, and do.

After seeing James Bishop, which is currently on view at David Zwirner (September 6 — October 25, 2014), I would urge anyone who cares about what an artist can do with paint to go and immerse themselves in this beautiful, sensitive, astringent exhibition of eleven mostly square, human - scaled paintings in oil and four small works (all are less than six inches in height and width), done in oil and crayon on paper.

What characterizes the artworks of Neo-expressionism is an immediate return to painting as the primary, almost organic part of artistry — this reflects perfectly in often large - scale pieces, covered in thick layers of paint and raw brushstrokes of intense colors.

What unifies the paintings and drawings is the artist's interest in obsessive patterning and intimate scale.

Having closed her 83rd Street studio in 1970 after a decade, divorced from Robert Motherwell in 1971, and experienced the first full scale book of her art published in 1972, Spanning was painted in the height of what was a deeply important and transitional stage in the artist's life.

«A lot of that has to do with historical painting and the notion of who has the right to depict what bodies at what scale and I like that,» Casteel says.

Rail: As much as you had reduced your «Big Nude» to black and white while adapting the monumental scale of abstract expressionist painting, did you think you were going against the grain of what was happening at the time?