Sentences with phrase «with synthetic resins»

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.

Todays latex paint is a dispersion paint with a synthetic resin as binder.

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.

One day in 1946, an artist came in with a synthetic resin and asked them to make paint out of it.

Todays latex paint is a dispersion paint with a synthetic resin as binder.

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 coWith 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 cowith 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.