Sentences with phrase «working practices of painting»

The exhibition highlights his dual working practices of painting and printmaking, and features new works made in response to a year - long residency at English National Opera (ENO), the first initiative of its kind for the opera company.

Not exact matches

In an important commentary on Newman's work, Rosenberg concluded that painting was for Newman a way of «practicing» the sublime, not of «conveying» it («Meaning and Abstract Art,» the New Yorker [January 1, 19721, p. 46)

Much of the hysteria about this measure from Conservative MPs and within the right wing press has painted a misleading picture regarding both how capital gains tax works in practice and who pays it.

Dr. Gayle D. Jones, Oneida County Director of Health, says it is essential that anyone who disturbs lead - based paints in pre-1978 housing be properly trained and certified in lead safe work practices and that contractors or renovators found to be non-compliant with EPA regulations are subject to substantial fines.

The program, initiated last year by County Executive Anthony J. Picente, Jr., targets properties in Cornhill, West Utica and parts of East Utica that are «at risk» for lead poisoning and allows the homeowners to replace old lead - base painted, single paned windows with new energy efficient replacement windows purchased at cost and using lead safe work practices.

Oneida County's housing stock is among the oldest in New York State, and while sturdy and architecturally aesthetic, is covered with lead - based paints requiring specialized knowledge of lead - safe work practices compliant with the Environmental Protection Agency (EPA) regulations that went into effect in 2010.

«Protecting our children from the hazards of lead common in pre-1978 housing has been a high priority of my administration; and while it may take years to provide adequate lead safe housing in our community, there are measures we can take now to reduce children's risks of lead poisoning, including insisting that rental property owners replace or repair older windows and chipping and peeling lead paint and ensuring the work is performed by EPA certified contractors using lead safe work practices,» Picente said.

Whether it's the Louvre or the Rubin Museum of Art, students are often encouraged to spend time sketching the paintings and sculptures that intrigue them — not to practice their art skills, but to get them to look closer at the details: the complex color of a sky, the figure off in the distance... After taking the time to draw a sketch yourself, you're bound to remember the details of a work and have a greater appreciation for its creation.

Thanks Laura:) I have had a bit of practice working on fabric as years and years ago I painted jean jackets and jeans and sold them.

I even decided to be a sports manager my sophomore year and had the opportunity to work the sidelines of a few games, attend practice and paint the helmets to match the Golden Dome.

Clyde Baldo, a psychologist who works with disillusioned internet daters at his practice in New York, paints me a picture of the other side of the online experience.

Rather than painting boards and their members with a broad brush, Shober and Hartney spend time defining different types of capacity — possessing accurate knowledge about a district, focusing on student learning, and adopting effective work practices.

Good for a bit of background knowledge of working practices in painting.

The realities Ngounou saw for teachers, administrators, families, and students working in education painted a bleak picture of the future, one in which despite all the hard work a certain feeling of powerlessness about policies and practices remained.

Tying this observation data back to responses from the student and teacher surveys, we can paint a clearer picture of personalized learning in action, and then work to relate those practices back to improvements in student achievement.

Pointillism, the term used with respect to the work of Seurat, is the practice of painting patterns of small, distinct dots of pure color next to each other.

View works by contemporary Ubudian artists as well as traditional schools of art such as Batuan — practiced by Brahman artists — and Sanur, which features highly stylized paintings of sea creatures and other animals.

They don't understand — or begin to think about — the fact that a great performance comes from hard work, that a fine painting or perspective drawing is the result of hours of practice and study.

I don't know what's «industry standard practice» for fine art galleries these days, regarding pricing works on paper vs. works on canvas, but my suspicion is that the reason for the * historical * difference between the two is that works on paper are perceived to be less «serious» (after all, watercolor started out as a quick way for oil painters to sketch out drafts), and less long - lasting (historically, a lot of watercolors were fugitive, and tended to fade with time, unlike varnished oil paintings).

There are faces, but they are depicted in ways that seem to cancel themselves out: a quick, semi-abstract mark, furtive smudges of paint, a collaged face cut out from another painting... Certainly these works present an accomplished artist asking questions about her own practice, questions such as: How can I paint the body in a more immediate way?

Fisher comments: «I think one of the most interesting questions in a painting practice is how to be simultaneously of the present in the work and at the same time speak to a well - articulated lineage.

Taking influence from performances by Rebecca Horn, the installation work of Eva Hesse, and the 60s and 70s works of Richard Tuttle and Sol LeWitt, Oh employs a minimalistic practice using string, weights, dowels, paint, plexiglas and graphite lines arranged in fragile compositions.

Four years on from the last time I saw her work (at the Bill Maynes Gallery) she has reinvented her practice yet again, giving us some of the most accomplished, not to mention downright beautiful, painting to be seen anywhere.

He works in various media but his practice is centered around the creation of large, iconic paintings.

Freud's adherence to realism and focus on the human figure, when abstraction and other progressive forms of practice were more prolific, moved him in and out of the spotlight until the 1980's when renewed international interest in painting and figuration gave his work a new significance.

Another painter based in L.A., Lecia Dole - Recio earnestly focused on the importance of Jasper Johns's catenary works to her practice and the related process by which she constructs her «queer formalist» paintings, as she describes them.

Through the friendship and careers of the trio of artists — all who live and work in The Hamptons — the exhibition explored paintings made and the intersections and divergences of each of their art practices during this time period.

Thomas Dane Gallery presents an exhibition of new works by Venezuelan - born artist Arturo Herrera, whose practice combines found images and objects with drawing, collage, sculpture and paint.

Each artist combines notions inherent in the practices of art and architecture, in an experimental exhibition that includes site - specific installation, sculpture, painting, photography and video to create five very different and exciting works.

Bourgeois's diverse practice included drawings, paintings, textiles, embroidered works, sculpture, and installations ranging in scale from a few inches to monumental, fully immersive environments like Untitled (1991 - 2000), the 15 - ton marble sculpture that is the centerpiece of her exhibition at MASS MoCA.

Whilst taking Neel's work as a point of reference, the exhibition aims to open up possibilities for reading figuration and portraiture in contemporary painting, to assert the continued relevance of these modes of practice, and to re-consider Neel's work in relation to artists working today.

Documenting 11 years of her practice, the exhibition included acoustic paintings, works on paper, sculpture and sound works.

Drawing on his own experiences and also referencing broader global issues, his diverse practice spanned assemblage works composed of found objects such as metal, stuffed animals, discarded clothing, rope and electrical wire, and dramatically textured paintings, as well as muted neo-expressionist works on paper executed in pastels, charcoal and watercolor.

By continually changing her working environment with lighting, mood, and orientation of the canvas while painting, Scully pushes the boundaries of not only her practice, but of physical and psychological space.

During the second half of the eighteenth century, the practice of using oil paint on paper while working outdoors became popular among landscape artists.

Exhibited together for the first time, the works reveal a young artist in the process of establishing the elements of a painting practice that has lasted nearly five decades.

However, discussing Dalwood's more recent work illuminated his practice as a whole, helping me to figure «Burroughs in Tangier» into a much broader understanding of the artist's paintings.

The exhibition comprises a broad range of works across a variety of mediums — including painting, performance, photography, sculpture, video, and web - based projects — that all investigate the extensive effects of the internet on artistic practice and contemporary culture.

Historical counterpoint for such work can be found in the practice of Patrick Saytour, which, while wildly diverse, includes experiments with painting on oilcloth and other domestic fabrics: Ceysson & Bénétière (F10) offer a solo presentation for the curious.

Grau's work is grounded in the history of plein air painting, an in - situ practice of landscape painting based on direct observation that was initiated by artists such as Claude Monet, Pierre - Auguste Renoir, and Camille Pissarro in the latter half of the nineteenth century.

Two scholarly essays, an illustrated map and vivid color reproductions of paintings and works on paper illuminate this little - known period in the influential artist's practice.

Many artists have taken a «provisional» stance, while others are producing highly finished work that so blurs the line between two and three - dimensional practice that categories of media such as painting and sculpture become all but useless.

The format of Rythm Mastr, whether as an animated feature, graphic novel, or multi-panel sequence on newsprint, may feel like a departure from Marshall's painting practice, more tethered to pop culture than the high - brow arena where the artist's large - scale works fetch seven figures.

Presenting work in a range of mediums, from painting to sculpture, performance, photography, and video, these 9 artists / estates to watch are positioned to up their exposure and take their practices to the next level.

The development of a conceptual approach to painting in his late work was a radical evolution in Tworkov's practice.

If painting as a practice is viewed with far more skepticism today, the sense of conversation evoked by the works on this wall — and in a smaller room off the main gallery, which is also filled with the art of Schloss's friends and acquaintances — rings eerily familiar.

As the contemporary practice of painting continues to expand exponentially, with many artists becoming less concerned with the physical medium of paint itself, Cain's practice — a combination of control, happenstance, and environmental information — is made unique through its reliance on space and the structural conditions of the locations in which her work is exhibited.

In these works, the processes of perception that inform the practice of painting are discreetly played out.

The approach that the artists in Slipped have taken to clay as an extension of their painting or sculptural practices has resulted in an exciting and innovative works that combine the visual and sumptuous nature of ceramics with a conceptual rigour.

Kinder's drawings / paintings — there are elements of both mediums in each work — express the radiant vitality and energetic playfulness inherent in his practice.