Sentences with phrase «whole painting part»
Since I don't want to go through the whole painting part of the paper, etc., I was wondering if wood grain wrapping paper would work or if it's too hard to stick down with the glue.
http://www.domesticimperfection.com/ Not exact matches
--- Some parts of the Church haven't done a good job, but to paint the whole Church with the swipe is bogus.
The molecules of paint or of moisture are incapable of this kind of prehension of each other or of the whole nexus of which they are parts.
You could paint the whole crib, add crisp stripes on the spindles, or paint a unique pattern on parts of the crib.
Here's the photo my client sent me of the exterior of her home: In her email, she mentioned possibly wanting to paint * part * of the house, but not necessarily the whole thing.
«Unified through the motif of splattered paint, each channel has been designed to be read as a unique part, while simultaneously being piece of a much larger networked whole,» share the artists.
Some days you just want to walk down the street in your bright - red wig and blue body paint without the whole world staring at you; if you're Jennifer Lawrence, you can get away with the first part, at least.
One Owner 60k milesBrand new disc brakes (have all old parts) Carb rebuilt and whole new fuel systemnew shocks, tires, plugs, wires, cap, rotor, points, battery, etc.Everything works like it shouldhave 4 extra doorsNeeds two front fenders and paint to be done, just have too many other projects!!
It's a shame that stuff has to paint part of the picture as a whole, but it does.
Sometimes the whole process collapses, what was a presence in a previous painting now is just a cartoon of its self, it's frightening but part of the making of things.»
Painting is still a part of my whole being and that will never stop.
Since these performances on video are, for the most part, non-narrative and oftentimes repetitive and durational, an important part of viewing them is actually watching the whole thing (imagine looking at just one corner of a painting, and judging it based on that).
Drawn both inwards and outwards by the pictorial and architectural elements of his paintings, the viewer is invited to engage in the act of balancing a reading of the part against the (often) monumental «whole».»
Lined up on a wall, the Sunday Paintings have a cinematic quality: each panel looks like a frame in a film sequence — a moment in time stilled — as if each is a part of a larger ongoing whole.
Consisting of resin and paint on multiple layers of unprimed canvas, it evinces a new materiality on Hubbard's part (c.f. Natalie Frank) but remains true to his pleasingly sleek style, which does much to sex up the whole category of abstraction.
Peter Schjeldahl writes in the October 9th, 2017 issue of The New Yorker, «The happiest surprise in Trigger is a trend in painting that takes inspiration from ideas of indeterminate sexuality for revived formal invention... Christina Quarles... rhymes ambiguous imagery of gyrating bodies with dynamics of disparate pictorial techniques... The wholes and parts of bodies in Quarles's cheerfully orgiastic pictures entangle in alternating styles of line, stroke, stain, and smear... called to mind early nineteen - forties Arshile Gorky and Willem de Kooning, who fractured Picassoesque figuration on the way to physically engaging abstraction... Quarles playing that process in reverse, adapting abstract aesthetics to carnal representation.
Though there is a long tradition of geometric abstraction abroad that dates back to Russian Constructivism (Kasimir Malevich) and Dutch Neoplasticism (Piet Mondrian), the European artists were concerned with a balanced relationship of parts within a whole, whereas Reinhardt, Newman and Rothko stressed the unity of the painting over all other surface incidents.
Perhaps Desmarais» jagged - edged sculptures are «small parts» fractured from some invisible «whole,» which the wall text suggested as a key facet of a «sample,» or maybe her square patches of painted wall «correct, enhance, or modify» the «routine» of exhibition display techniques.
The emphasis of the first section is perhaps best summarized by the little - known post-war artist John Latham's room full of paintings and sculptures glutted with parts of, or whole, books; as part of his practice, Latham also burned books in order to imbue himself with «gray matter,» as the wall text notes.
On the other hand, both parts of Black in the Abstract make it perfectly clear that, on the whole, the quality of the work being produced by black artists whose practices include abstraction — as the inclusion of Hammons, McMillian and Donnett indicate, not everyone here is an «abstract painter» — does not suffer in comparison with that of their colleagues of other backgrounds, including major figures like Amy Sillman and Charline von Heyl, both of whom have work in Arning's Painting: A Love Story.
As with all of Förg's work and installations, the individual works are regarded as part of a whole, merging photography with wall paintings and sculpture to activate a space with specificity to site.
The tendency of Mr. Rauch's paintings to remain an assembly of more or less — or a lot less — interesting parts rather than resolving into convincing wholes is... read more... «Neo Rauch at the Met»
The artist's painting and print practices are two parts of a unified whole, informing each other within a codified language of the artist's own creation.
Important early solo shows includeOn Kawara, 1973 - Produktion eines Jahres / One Year's Production at the Kunsthalle Bern and the Palais des Beaux - Arts, Brussels in 1974; On Kawara: continuity / discontinuity 1963 - 1979, which was first on view at the Moderna Museet in Stockholm in 1980 and traveled to the Museum Folkwang, Essen, Germany, Van Abbemuseum, Eindhoven, The Netherlands, and the National Museum of Art, Osaka; On Kawara: Date paintings in 89 Cities, which toured from 1991 to 1993 to the Museum Boijmans Van Beuningen, Rotterdam to Deichtorhallen Hamburg, Museum of Fine Arts, Boston, and the San Francisco Museum of Modern Art; On Kawara: Whole and Parts 1964 - 1995, on view from 1996 to 1998 at the Nouveau Musée / Institut d'art contemporain, Villeurbanne, France, Castello di Rivoli, Turin, Museu d'Art Contemporani de Barcelona, Musée d'Art Moderne, Villeneuve d'Ascq, France, and the Museum of Contemporary Art, Tokyo; and On Kawara: Horizontality / Verticality at the Städtischen Galerie im Lenbachhaus und Kunstbau München, Munich and Museum Ludwig, Cologne in 2000 to 2001.
These paintings allude to parts of a whole, focusing on an indiscriminate component of a random structure, whose proportions are amplified by the black lines and enriched by the textured white ground.
Hobbs writes that Reynolds» discourses «are rich indeed, and still speak to the concerns of students of painting today, if you have the patience to parse the meat from the embroidery of 18th century rhetoric... My favorite of the Discourses is number XI, in which Reynolds addresses himself to the problem of «finish» and the relationship of parts to the whole.»
PC: Well, a lot and, because it took de Kooning years before he could finish paintings and that was part of the whole thing, of being an abstract expressionist in the forties and fifties.
Past Cable Griffith, Friday, February 6th, 12 - 1 pm Come listen to Cable Griffith talk about his paintings which are influenced by nature, science, and the relationship between individual parts to a unified whole, creating landscapes of an invented world through an improvised accretion.
June 11 - August 17, 2014 «Beauty Reigns: A Baroque Sensibility in Recent Painting», organized by René Paul Barilleaux, the McNay Art Museum's Chief Curator / Curator of Art after 1945, assembles the work of thirteen emerging and mid-career abstract painters whose art is characterized in whole or part by high - key color, obsessive layering of surface imagery, use of overall and repeated patterns, stylized motifs, fragments of representation, and a tension between melancholy and the sublime...»
Although the shapes of body parts represented in these new paintings are familiar, all sense of narrative is lost by their dispersion across the picture plane and the composition as a whole becomes abstract.
Morley depicts details: each calibrated digital image as a whole is fragmented into a grid of small squares or «cells» as the artist calls them, from which Morley paints one discrete component at a time, turning the canvas upside down and sideways so that the abstract shape and color tonality of each part is addressed.
And I don't care what Clem Greenberg or Emmerich says or does or shows or doesn't show, Hofmann was part of that other culture, that whole thing of constructing paintings, of the whole old culture kind of painting, that Cubist - based painting culture which Clem used to put down so hard and all so Hofmann becomes something else that's okay.
Ryan McGinness's 2005 exhibition installationview translated the media landscape of logos and advertising into an immersive installation, decentering full sensorial focus; and Cameron Martin's elegiac atonal paintings of branches and boulders, representing parts of nature for the whole, translated photographs into paintings through digital imaging, architectural stencils and house - paint sprayers.
By partially painting over the central shape with the same grey hue as the support of the work, background and foreground merge; each constituent part of the composition reveals and reinforces the whole.
In these picture series, Czerlitzki is pursuing the idea of an organic pictorial corpus expanding in all directions, its component parts — the individual «paintings» — having an existence of their own but being premonstrations of a whole which leaves traditional categories of oeuvre and (individual) work behind it.
By gathering fragments of nature and then overlapping each in strikingly abstract paintings, the various parts become a new whole.
Thus, in African Art, the mask is naked or incomplete without the costume, the music, and the performance, which is a correlation we can establish with abstract expressionist painting in which all parts must come together (medium, movement, color, etc.) for the whole visual and metaphysical experience to emerge.
His compositions are only considered complete when none of the parts of the painting can be removed without fundamentally altering the composition as a whole.
He helped set the movement in motion with an oil and wax - on - panel painting titled «Synecdoche,» or a part standing for a whole.
Any vista is only ever observed in brief, and in parts — between the blinks of our eyes — and yet we can fill in the whole by using our past experiences as well as, in the case of Aho's paintings, hundreds of years of art.
In this one (Moma... Please), the marks on the whole right side then became part of the finished painting.
Each layer will remain a sketch, often visible through the one that covers it.33 Painting will create a whole from parts in an unsettled and unsettling relationship.34 The resonance between body and landscape will reverberate thorough choices of browns, pinks, reds, and whites.35 Painting will be irresponsible to gravity.36 A gestured brush drawing on top of painted forms will define and relocate specific contours.37 The painting will be waiting to be recognized.38 The painting will bear the marks of its making.39 The revolution will be Painting will create a whole from parts in an unsettled and unsettling relationship.34 The resonance between body and landscape will reverberate thorough choices of browns, pinks, reds, and whites.35 Painting will be irresponsible to gravity.36 A gestured brush drawing on top of painted forms will define and relocate specific contours.37 The painting will be waiting to be recognized.38 The painting will bear the marks of its making.39 The revolution will be Painting will be irresponsible to gravity.36 A gestured brush drawing on top of painted forms will define and relocate specific contours.37 The painting will be waiting to be recognized.38 The painting will bear the marks of its making.39 The revolution will be painting will be waiting to be recognized.38 The painting will bear the marks of its making.39 The revolution will be painting will bear the marks of its making.39 The revolution will be painted.
The process of gradual adjustment that Abts adopts in her paintings, of fine - tuning the balance of parts to whole, extends to her approach to installing an exhibition.
In the resulting titles, do the parts that make up the whole end up influencing how the painting is finished?
As I wrote at the time, the most baffling part of the whole story to me was the fact that the Met would place an unprotected painting valued at $ 130 million in a location where clumsy people posed a threat to it.
Amy painted that, and it's my favorite part of the whole room.
In her email, she mentioned possibly wanting to paint * part * of the house, but not necessarily the whole thing.
The whole thing is going Simply White (Benjamin Moore), and I'm going to use a small artist paintbrush to paint over the mint green paint on the corbels - careful to leave the chipped off parts the way they are»cause I love the way they look.
My very favorite part of the whole thing, which was a total experiment, was my spray painted gold Christmas lights!
Here's the photo my client sent me of the exterior of her home: In her email, she mentioned possibly wanting to paint * part * of the house, but not necessarily the whole thing.