Todays latex paint is a dispersion paint
with a synthetic resin as binder.
One day in 1946, an artist came in
with a synthetic resin and asked them to make paint out of it.
Video installation; 1 LCD monitor, 1 flashcard player, 1 vintage sideboard in laminated wood, miscellaneous objects, LED lights, laboratory glassware
with synthetic resin, 108 5/8 x 59 x 22 7/8 in.
Todays latex paint is a dispersion paint
with a synthetic resin as binder.
In fact, it has been constantly changing
with synthetic resins now making their way in competition with solutions of nitrocellulose and, with more recent applications of dispersing agents, with lower surface tension, there have even appeared lacquers in which the more expensive and inflammable solvents have been replaced to a considerable extent by water.
Not exact matches
PET carpet advocates report that because plastic beverage containers are made
with top quality
resins as required by the U.S. Food & Drug Administration, recycled PET is superior to lower grades of virgin
synthetic fibers used in making other brands of polyester carpet yarns.
All three turbines had three rotors, but the flexible ones were made
with a pliable material called polyethylene terephthalate, whereas the rigid version was made
with a stiff
synthetic resin.
The stiffness of the initially viscous material based on
synthetic resin can be determined by two hardening mechanisms: irradiation
with UV light, and heat.
We are witnessing more obesity, diabetes, pituitary, thyroid, ovarian, and other endocrine gland disruption due to chemicals such as perchlorates (residues of
synthetic fertilizer in produce), polyfluorooctanoic acid (non-stick cookware), bisphenol A (polycarbonate plastics,
resin lining of cans), polybrominated diphenyl ethers (flame retardants), along
with many others.
Instead, the hulls were constructed out of plywood, fiberglass, and
resin, and the sails were made from canvas; the lashings were done
with synthetic cordage.»
He then used paint pouring as one of several techniques on canvases, such as «Male and Female» and «Composition
with Pouring I.» After his move to Springs, he began painting
with his canvases laid out on the studio floor, and he developed what was later called his «drip» technique, turning to
synthetic resin - based paints called alkyd enamels, which, at that time, was a novel medium.
Interestingly, the group of artists displayed in this exhibition will bring back these two layers of plastic creativity in unforeseeable ways: How could cheap,
synthetic, mass - produced plastic
resin become the material that would resonate
with the very sources of creation?
Known for their pioneering work
with various
synthetic resins and
synthetic polymers during the 1960s and «70s, these artists are today recognized not only for their active roles in the development of plastics as a newly discovered medium in art, but also for their sophisticated techniques and at times even quasi-acrobatic prowess required to shape them into the seamless, translucent, luscious volumes: some impressive examples of these artistic exploits will be on display at Almine Rech Gallery.
Yves Klein, Untitled (fire - color painting), 1962, charred dry pigment in
synthetic resin with metallic paint on asbestos - coated paper on board, 24 1/2 x 19 in.
Yves Klein (1928 - 1962) IKB 64 signed, stamped
with the artist's monogram and dated «Yves 57» (on the overlap) dry pigment and
synthetic resin on canvas laid down on panel 21 7/8 x 30 1/2 in.
Bringing together a minimalist structural rigour contrasted
with unfolding fields of energy, Altmejd recognizes the primacy of the conceptual approach in shaping the cycles that run through his work: heads, constructed, architectural pieces, werewolves, bird men, giants, bodybuilders, guides, watchmen... The abrupt changes in scale (from the minuscule to the monumental), profusion of materials (crystals, mirrors,
synthetic hair and fur,
resin, wood, metal) and the various devices he uses to occupy the space (platforms, display cases, oversized cabinets) are all strategies that position the artist as a creator of all possibilities.
With a unique pouring technique, Morris Louis achieved his intensely vivid hues by staining his canvases with Magna, a newly developed form of synthetic acrylic resin which fully penetrated the fabric and completely covered the fibers of his canvas to build glowing fields of voluminous co
With a unique pouring technique, Morris Louis achieved his intensely vivid hues by staining his canvases
with Magna, a newly developed form of synthetic acrylic resin which fully penetrated the fabric and completely covered the fibers of his canvas to build glowing fields of voluminous co
with Magna, a newly developed form of
synthetic acrylic
resin which fully penetrated the fabric and completely covered the fibers of his canvas to build glowing fields of voluminous color.
Yves Klein (1928 - 1962) loves deep blue and Lot 241, «Venus Bleue,» shows what happens when you take a Classical sculpture of a woman's torso and make a very fine plastic sculpture of such a form and cover it
with dry blue pigment in
synthetic resin instead of lustrous white marble.
The artist produced them
with incomparable skill and inventiveness, using a host of different
synthetic and natural materials (epoxy clay,
resin, quartz, sequins, mirror, hair, feathers, coconuts, coffee grounds, etc.).
The result was a
synthetic resin called Rhodopas M60A which allowed ultramarine pigment
with which it was combined to retain its aesthetic potency.
Organised at Almine Rech Gallery by the artist DeWain Valentine, «Plastic Show» is presenting a series of works by five Californian artists (Mary Corse (b. 1945), Robert Irwin (b. 1928), Craig Kauffman (1932 — 2010), John McCracken (1934 — 2011), and DeWain Valentine (b. 1936)-RRB- who have been investigating the potential of plastic (synthetically produced
resins) in art:» Known for their pioneering work
with various
synthetic resins and
synthetic polymers during the 1960s and «70s, these artists are today recognized not only for their active roles in the development of plastics as a newly discovered medium in art, but also for their sophisticated techniques and at times even quasi-acrobatic prowess required to shape them into the seamless, translucent, luscious volumes.»
First Sculptures In the 1950s Hanson taught art in Germany, and it was here that he began to experiment
with synthetic media, in particular polyester
resin and fiberglass.